Recording - November 2013 - 19

specifically... and if they like it, they don’t
have to wait for it to come back around
again, as they do with terrestrial or satellite
radio. And on the Internet, there’s a good
chance that if they hear something they
like, there will be something they can click
to either purchase it or find out more about
the person who made it.
Records are still “sold door to door”—
If you want to have a career as a recording artist, you need to go play your songs
for people, and they will buy it from you
when they like it as it’s placed in front of
them, whether it’s over their phones, or
across the CD table, or whatever. It’s the
truth: The long way will always work. If
you’re willing to put in the time that Phish
puts in, you will have the career that Phish
has, assuming you have the talent.
Are there particular things that have
worked extremely well for you in your
own case?
Well, that depends. In Europe, studies
have come back that say that most people
share their music based on YouTube.
Maybe a lyric video, or a picture of what
you think an album cover might be, and just
put the song up! That’s a very easy way for
people to hear your music and share your
music, even though there’s no easy way to
hold onto it afterwards. If you feel like you
have something, put it up so people can
buy it, put it up so people can listen to it.
Remember that the music business is just
as much about “business” as it is about
“music”. It’s not the “music friends” or the
“music Facebook”! [laughs] So you have
to help a listener to become a fan, and
there are a lot of ways to encourage that.
That has to do with information, with
giving them things that they can connect
to in their life. The reason our lives have
a soundtrack is because each song
reminds us of something in our life, something that we did or something that we
felt. It’s amazing to me how the radio suddenly makes sense when you’re in the
middle of a heartbreak... you’re in that
terrible place in a relationship and you
turn on the radio and you say, “Oh, man,
that song I hate all the time? I love it!”
[laughs] And it’s just because the emotion’s true. And that’s the point—you’re
not recording your song alone in a room
any more, you’re out there speaking with
your song to other human beings.
After that, perseverance is key. Because
now it’s the rules of the Internet, not the rules
of the music business. Here’s an example. I
noticed that I had way too many recorded
songs, songs I’ve recorded during the last
couple of years when I was very prolific,
and I was weighted down by the sadness
of realizing that most of those songs were
never going to be heard by anybody. And
I said to myself, “What am I going to do
about this? I don’t want to be mad or upset,
and I don’t want to deliberately write less

because I feel like I’m throwing my songs
into a dark hole, hoping that one might
catch the attention of someone, or another
might be the right song for my own projects...” So I said, “Oh, I’ll just put one out
every Monday for five years.” And it’s
working!
Yes, I see you have fifteen or twenty
songs on your Music Monday page at
kristianbush.com...
And I hope that we come to a point
where if you decide that one of those
songs touches you and you say, “Oh, I
love that lyric,” or “Kristian, I never
knew,” or even “I like that drum sound”...
and hooks you in to where you are able
to find common ground with me and my
music and your life, then that platform
where you’re hearing my music, whatever it is, has some way right in front of you
for you to click and find out more.
That’s what it’s all about. That’s why I
love your magazine! That’s why I love the
conferences like the one in Nashville! Life
is this wonderful thing where we discover
stuff we’ve never seen before, or never
thought of, or never understood... and we
live in a time where we can say, “Golly, I
want to find out more”... and we can!
So you’re saying, the most important
thing you can do when putting your
music out, aside from making the music
itself available, is to have a single button
someone can click on to Find Out More.
Find Out More! Even if it’s just “Hey, I
used this pedal,” or “Hey, I love David
Bowie,” or “Hey, I was sitting on the back
porch talking to a friend and I saw a big
black car, and that was how I started
this—and here’s a picture from my phone
of the big black car!” Anything you add
intrinsically makes it more interesting.
People don’t simply talk to each other
about things... they tell each other stories
about things. So if you’re going to put
your music out there, give me the story!
And we’re back to community again.
You create a feedback loop between
the player and the listener.
Yeah, and that’s the joy. It goes all the
way back to when I was a kid, just like
you, and I heard a song and said, “Holy
crap! That’s awesome!”
Learn more about Kristian Bush, his
music, and Songs Of The Architect at their
websites, kristianbush.com and songsof
thearchitect.com. We would like to thank
not only Kristian himself, but also Tom Tapley
for his insights and chat at the AES
Nashville Recording Workshop+Expo, and
Whitney Pastorek of Songs Of The Architect
for coordinating the interview and providing the photographs.
Portrait of Kristian Bush by Dana Tynan,
studio photos by Evan R. Bartleson III.
RECORDING November 2013

19


http://www.RibbonMics.com http://www.kristianbush.com http://www.songsofthearchitect.com http://www.kristianbush.com http://www.songsofthearchitect.com http://www.RibbonMics.com http://www.facebook.com/ribbonmics

Recording - November 2013

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

Recording - November 2013
Fade In
Contents
Talkback
Fast Forward
Creativity And Community: A Chat With Kristian Bush
Reviewed & Revisited: Apple Logic Pro X
Write—Record—Release—ROCK!
Yamaha HS7 Monitors And HS8S Subwoofer
The Windup... And The Pitch
DPA Microphones d:facto II Handheld Vocal Microphone
Focal Spirit Professional Headphones
Songwriter’s Intervention
Millennia Media NSEQ-2 EQ For The Universal Audio UAD-2 and Apollo
Be Ready!
Recording Fundamentals. Chapter 23: Compression—Part 2
Readers’ Tapes
Advertiser Index
Fade Out
Recording - November 2013 - Intro
Recording - November 2013 - Recording - November 2013
Recording - November 2013 - Cover2
Recording - November 2013 - 1
Recording - November 2013 - 2
Recording - November 2013 - 3
Recording - November 2013 - Fade In
Recording - November 2013 - 5
Recording - November 2013 - Contents
Recording - November 2013 - 7
Recording - November 2013 - Talkback
Recording - November 2013 - 9
Recording - November 2013 - Fast Forward
Recording - November 2013 - 11
Recording - November 2013 - 12
Recording - November 2013 - 13
Recording - November 2013 - Creativity And Community: A Chat With Kristian Bush
Recording - November 2013 - 15
Recording - November 2013 - 16
Recording - November 2013 - 17
Recording - November 2013 - 18
Recording - November 2013 - 19
Recording - November 2013 - Reviewed & Revisited: Apple Logic Pro X
Recording - November 2013 - 21
Recording - November 2013 - 22
Recording - November 2013 - 23
Recording - November 2013 - 24
Recording - November 2013 - 25
Recording - November 2013 - Write—Record—Release—ROCK!
Recording - November 2013 - 27
Recording - November 2013 - 28
Recording - November 2013 - 29
Recording - November 2013 - 30
Recording - November 2013 - 31
Recording - November 2013 - 32
Recording - November 2013 - 33
Recording - November 2013 - 34
Recording - November 2013 - 35
Recording - November 2013 - Yamaha HS7 Monitors And HS8S Subwoofer
Recording - November 2013 - 37
Recording - November 2013 - The Windup... And The Pitch
Recording - November 2013 - 39
Recording - November 2013 - 40
Recording - November 2013 - 41
Recording - November 2013 - DPA Microphones d:facto II Handheld Vocal Microphone
Recording - November 2013 - 43
Recording - November 2013 - Focal Spirit Professional Headphones
Recording - November 2013 - 45
Recording - November 2013 - Songwriter’s Intervention
Recording - November 2013 - 47
Recording - November 2013 - Millennia Media NSEQ-2 EQ For The Universal Audio UAD-2 and Apollo
Recording - November 2013 - 49
Recording - November 2013 - 50
Recording - November 2013 - 51
Recording - November 2013 - 52
Recording - November 2013 - 53
Recording - November 2013 - 54
Recording - November 2013 - 55
Recording - November 2013 - Be Ready!
Recording - November 2013 - 57
Recording - November 2013 - 58
Recording - November 2013 - 59
Recording - November 2013 - Recording Fundamentals. Chapter 23: Compression—Part 2
Recording - November 2013 - 61
Recording - November 2013 - 62
Recording - November 2013 - 63
Recording - November 2013 - Readers’ Tapes
Recording - November 2013 - Advertiser Index
Recording - November 2013 - 66
Recording - November 2013 - 67
Recording - November 2013 - 68
Recording - November 2013 - 69
Recording - November 2013 - 70
Recording - November 2013 - 71
Recording - November 2013 - Fade Out
Recording - November 2013 - Cover3
Recording - November 2013 - Cover4
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