Archives for the category ‘Guest Blog’

Guest Blog – Three Quick Futurehit Techniques

July, 7th 2011 15:01

Last week we blogged about cover song success stories, this week we have Jay Frank author of FutureHit.DNA with some tips on how to make a successful song. His book suggests techniques for artists on how to make their music hit worthy, and talks about how playing in to new technologies can result in higher royalties.

If you don’t grab and impress a listener in seven seconds, the chance that your song will be successful will decrease exponentially.

For fear of being too subtle, of course I’m doing the same thing right now as I write this.  I’m up front with an important fact that I want to make sure you remember.  And thru that, I’ve hopefully engaged you enough to read this whole blog post.  And with that, forward this post to your friends and, for enough of you, engage in some form of commerce around my book Futurehit.DNA.

However, this is not just a mere ploy for me to sell books.  This is truly what you need to do in engaging audiences with your music.  I’d love to tell you that the audience has the time and patience to discover your music, but they don’t.  The truth is that there’s just too much music out there for anyone to give time to something they think they won’t like.  So they ignore unfamiliar songs that don’t grab them.  Like potentially your music.

Don’t look at me too harshly.  While most people spent the last decade worrying about piracy, they should’ve been worried about why nobody cared about their music in the first place.  The biggest hurdle one faces is nobody hearing your music, talking about your music, or even caring enough to listen to your song past ten seconds.  The truth is actually in there: nearly half of all people who discover a song don’t listen past ten seconds.

The good news for you reading this is that about 95% of the music that I hear on a regular basis doesn’t conform to the new digital landscape either.  Just thinking about the psychology of the listener will help you better craft a song to be hitworthy.  My book goes very indepth into the “why” of the new digital listener, but here are three quick and easy things to think about to get you started.

1)      IMPRESS THE LISTENER IN SEVEN SECONDS

Hopefully I’ve done that from the opening sentence of this blog post.  Make your intros short, if at all.  There’s a reason the big hits have very short intros.  They work in the digital discovery process.  Avoid this at your peril.

2)      REPETITION REPETITION REPETITION

In the songwriting process, repeating things over and over seems simplistic.  Reality is that people want to sing songs.  If they can’t sing, they generally don’t like.  Repeating key words and phrases is the fastest way to get there.  Your audience wants this.

3)      MAKE SOME COVER SONGS

Your original songs’ biggest liability is the fact that the listener doesn’t know it yet.  Ease them in to your originals by covering other songs your potential audience might like.  The reason so many YouTube musicians do this is because it works.  These songs are the sugar coated morsels before they experience your unique new music and get the listener warmed up.

Keep an eye out on our twitter next week, 3 copies of FutureHit.DNA are available for Zimbalam Producers!

Download the first chapter of his book free here

Guest Blog – Mastering your music

April, 18th 2011 13:56

Mastering is one of the most mysterious aspects of producing music. The first thing you need to know is that yes, it is necessary. It’s the final polish that makes your demo sound like a record. The second thing you need to know is that unless you’re very clued up about production, have incredible equipment and a canyon of patience, you shouldn’t master your own material.

Naturally whoever you hire to do your mastering will tell you what they need, but more often than not musicians just end up with whatever the studio gives them, which may or may not be the best thing for mastering. Or if recording in a home studio, you need to know what you need to end up with for the best results.

File format

Mastering is concerned with shaping the overall sound of the music and making sure all the tracks on a record sound roughly the same. As such, you’ll be sending your final stereo mixdown of each track, rather than the files for each individual part (guitar, bass, vocals etc.)

CDs are burned using stereo WAV files with a sample rate of 44.1khz at 16 bit. Any digital processing will degrade the fidelity of the original signal, so any good mastering engineer will ask you to provide files in a higher quality than CD, so as little degradation occurs as possible.

48khz at 24 bit has been a recording studio standard for years, although as technology has moved on the sample rates have gone ever higher. 96khz is fairly common and 192khz not unheard of.

The higher the quality, the better. But as long as it’s better than CD, your mastering engineer won’t complain.

Once your track(s) are mastered, you will most likely be supplied with CD quality WAV files which can be converted to MP3 ready for digital music distribution with a distributor like Zimbalam. If you’re not sure what you’re doing, the engineer will be able to provide the tracks in any format you need.

You don’t have to have your tracks mastered to get them distributed, but if you want your music to sound professional, it’s an essential process.

How loud should it be?

All the way along the recording chain your aim should be to make it as loud as possible without distorting (unless you’re working in analogue where a little distortion can be a good thing). The same is true for your final mix, although if in doubt, keep it lower – much of the processing done during mastering will make the track louder (that’s part of the point) and it’s better to have a quiet, clean signal than a loud track doused in edgy digital distortion caused by clipping.

What processing should I do?

As little as possible. Obviously do whatever you like within the mix, but leave the master channel dry as much as possible. If you absolutely must use that lo-fi vinyl effect to sprinkle some artificial dust on it then go ahead, but the general rule is to leave overall sound shaping to the engineer.

Mastering – it’s a science, right?

It is and it isn’t. There’s a common misconception that mastering is just a technical process to make music louder and to make sure it sounds as good as possible over any given hi-fi; anything from a mobile phone to a high class tube amplifier. It certainly is that, but there are so many variables that can completely change the overall sound that make mastering as much part of the artistic process as mixing.

When sending your tracks off, it will help the engineer tremendously if you give him some idea of what you want the music to sound like overall, maybe even offer up a couple of tracks you really like the sound of. Giving some idea of what you’re going for will influence what processing is appropriate and what equipment is used.

With that in mind, don’t be afraid to say it’s not quite what you’re after on first go. Mastering isn’t just a magic button on a computer, there are lots of variables, so make sure you provide the best source material possible, and give the best idea of what you want your final record to sound like that you can.

Written by Nick Lewis from Brighton Mastering & web design agency Bozboz

Brighton Mastering is a new service that provides online mastering of your tracks - You send them your stereo mixdowns via Dropbox, along with a short brief and they will send you the finished tracks within 7 days

*The original photo used in this blog was not sent to us by Brighton Mastering. The new photo is the work of  Lauri Rantala and is under Creative Commons license. Sorry for any confusion caused.