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言猶 在2012年
我被邀請今晚參加一個電話會議，與加拿大的歌曲作者協會和阿里爾·凱悅在討論我的經驗， 在九個星期的博客挑戰音樂的成功 ，作為一個新的挑戰者的浪潮正在建立自己的博客和齒輪去。
你可以感覺到就行了興奮和不確定性的對比......這是令人鼓舞的。 因此，許多人，誰愛詞曲創作和表演這麼多，他們冒險進入外國領土（或國外）採取的控制他們的網上存在。 這麼多的問題。
Ariel的最好的忠告之一：“不覺得，只是不” 羅恩·海因斯給我SongStudio有關詞曲創作在今年夏天同樣的忠告。
它是如此的真實。 你必須遵循的直覺，鑽進你擺在首位。
時間重新寫我的電梯間距:)
梅根
Mastering Your Own Music – Tips for Indie Artists from Karl Machat
Last year I attended a session on mastering during the Canadian Music Week conference in Toronto, Canada . The room was packed, filled with many independent artists who were eager to learn some tips and tricks for mastering their own music (as self-recording is becoming more and more possible and affordable with modern advances in technology).
The presentation was less than satisfying and I was (along with many other audience members) frustrated, but I know now that it was not at the fault of the panel. We had all gone in there expecting to receive advice, but from what I have learned since then, mastering is an art and a very individual process, so many mastering engineers are reluctant to give advice to a room of people with different ears and different projects with different purposes. The presentation was really about discussing the importance and value of mastering, it wasn'ta 'how to' session, like many of us had hoped.
大約在同一時間，我會見了卡爾 先生的掌握眾議院 Machat誰以後會成為我的2011年版本的母帶工程師， [雲雀]我們都生來裸體 。 雖然我很希望了解掌握簡單的家庭錄像，我可以在我的通訊作為贈品發送，沒有任何提示和技巧可以取代專輯的需求，所以我選擇了卡爾的專業經驗豐富的耳朵。
反過來，卡爾是一種足以回答幾個問題有關的步驟，我（和其他獨立藝術工作者），可以按照有助於提高我們的自我掌握家庭錄音的質量，以及如何最好地準備發送到掌握我們的軌道工程師，如果我們選擇走這條路。
從梅根莫里森掌握問題：
- 我們都知道，掌握提高質量錄製的曲目/專輯，但究竟什麼是“掌握”？
從技術上講，我們應該把它叫做“預先掌握”因為掌握在CD廠做什麼時，玻璃大師。 但它理解，所以大家都只是調用它掌握！ 剛剛走出該位的方式！
掌握歌曲的集合（如專輯），使它們聽起來像他們真正屬於彼此共同 - 確保水平，音調，和動態的均勻和一致的每首歌，同時牢記的風格曲目。 精通的目的是為凝聚力和個性之間的平衡。
掌握（當你僱人做）是一個機會，以獲得一個混音的聲音批評之前釋放它向世界由一套新的耳朵。 如何你的聲音經過幾週和幾個月的工作，除非你不聽，說，6個月的一年有一個清晰的思路，這幾乎是不可能！
掌握的另一個考慮因素是確保與市場上類似的音樂風格是市場上具有競爭力。 這更是一個值得關注的當掌握只是一個單一的歌曲。
有沒有一個正確的方法，掌握了軌道：它有時盡可能創造性的技術。
掌握技術，涉及均衡，壓縮和限制 - 很多這樣的混合，但其範圍一般比較微妙。 有時提高的過程，如管和磁帶飽和。 其他的事情，包括加強的立體圖像，如中端技術 - 我的專業。 卸下奇一下，嗡嗡聲，嗡嗡聲或嘶嘶聲也常常需要。 參與過編輯：修剪的頭和尾巴的一首歌曲文件，並創造適當褪色奏和淡入。
我們的目標是保持一個組合的最佳元素。 母帶處理工程師做需要做什麼。 這是一個重要的一點要記住和理解：混合越好，越少'掌握'將有最終結果。
然而，有一個OK組合時可以在掌握階段恢復的時間 - 但它不賭！
我想指出，不是什麼掌握！ 它不應該被看著修復或挽救什麼。 它不能修復壞的組合，或不良記錄技術。 它不能改變樂器或聲音，儘管有時在個人層面 - 只是有時 - 小心的EQ，你可以創建這樣的印象，也許，多頻帶壓縮。
如果我碰巧得到一個混合的“邊界”我與我的藝術家討論第一次。 我會盡量節省時間/混合成本，只要有可能，我願意做一點超出什麼標準掌握的做法，如果需要保存軌道。
當你跟踪掌握藝術家確實有最後的發言權，結果順便說一句！
藝術家們要自我記錄，什麼秘訣可以讓他們使用混合過程中，這樣當他們發送給你要掌握你的工作將會更有效或更容易？
秘書長：
盡可能使用最好的音頻接口。
使用最好的揚聲器監控和正確定位。 聆聽位置和兩個顯示器應該形成一個等邊三角形。
熟悉您的聆聽環境。
它可以是非常令人沮喪的母帶工程師的藝術家，如果客戶端試鏡下播放系統/環境樣品和批評什麼，實際上可能是在自己的監測設置的一個弱點。
另外：你的最後期限是 - 你的最後期限。 給約2-3星期為一個完整的專輯掌握項目規劃。 尊重母帶工程師的時間表。 否則，你就最有可能退出門！
錄音：
仔細聆聽失真。 （如混響）不能帶走。 重新錄製糾正是唯一的選擇。 僅僅因為你不打你的DAW的米0分貝並不意味著你可能沒有重載組件的地方早在您的錄音鏈：一個前置，例如;或者是一個錯誤的補丁電纜。
使用高品質的文件格式：WAV或AIFF。在24位或更高。 使用最低44.1 kHz的採樣率。 更高的採樣率是巨大的......但是（！）..如果你要到CD格式使用的採樣率44.1K的倍數。 所以44.1千赫，88.2千赫或176.4千赫等，如果你知道你只去一個視頻媒體，然後使用48千赫，96千赫，等等。
永遠，永遠，使用MP3或任何其他數據縮減格式，作為一個傳遞介質：你永遠也不會恢復他們帶走，他們反正聽起來可怕！
在這個階段，聲音的權利盡可能多，而不是堆積在混合階段的影響。
攪拌：
做 - 一切 - 你可以使你的組合方式，你想它聽起來。 不要決定後，吉他或人聲不夠響亮，離開它的掌握階段嘗試修復它。 掌握工程師照顧，不要讓類似的事情。 它添加到的時間，真的，最後2軌道混音文件是不是最好的地方，以修復這樣的事情，即使它有可能。
也不要嘗試做任何母帶工程師的工作無論出於何種原因。 我曾經有一個客戶端發送，都刷爆了水平明智的混合物。 他們只是想以確保從軌道跟踪的EQ一致。 不要介意，如果你EQ'ing之後你刷爆了水平，你仍然需要再次限制，以確保你不超過0分貝的事實，額外的問題，這裡是藝術家創造失真每首歌，因為他無法聽到他的監控系統！
其他提示：
每個軌道上使用高通濾波器。
- 你的意思是每一個人的吉他，貝司，聲樂等軌道？ 或在主推子每首歌曲時反彈？
我的意思是每一個人的混音曲目/儀器 - 你的吉他，貝司，人聲，鼓等，這將刪除的建立和積累低水平的聲波泥，吃在最後階段的寶貴響度水平。 這種技術是在20赫茲開始慢慢向上移動，直到你聽到的低頻損失。 在這一點上，下慢慢停止，直到你恢復，頻率 - 這是針對特定儀器的設置。
每個軌道上使用的低通濾波器。 這有助於減少從每個軌道的噪音水平的積累與任何數字的“邊緣即將倒閉”。 該技術是與上述相同的反向除外：20,000赫茲（20千赫），並開始緩慢移動，在頻率較低，直到你聽到一個高端的損失。 停在那裡，向上移動，直到你追回損失。
- 多少這些高，低通濾波器，我們應該使用嗎？
使用您的組合中每一個曲目/儀器之一。
- 任何建議設置？
在這兩種情況下，你需要使用，以確保你不會刪除任何音樂的內容，你要保持你的耳朵。 這些設置確定每個軌道上的每一件樂器的頻率範圍。
全部靜音，任何地區，是沒有必要的組合。 這有助於最大限度地減少噪音問題，如哼哼，點擊或嘶嘶聲。
經常檢查單聲道混音踢屁股！ :)
如果你想仿效某些方面的商業歌曲，這首歌的音量調低，以便與您的組合比較更好。 商業的軌道是在一個比你最後的混合熱得多的水平。
避免過分使用效果：越少越好。 只用你所需要的。
經常休息。 始終與新鮮耳朵聽。 避免在一次會議或整個晚上做的一切。
再次：不要做最後的混合大聲。 給予大量的淨空工作：-3到-6分貝的罰款。
避免任何總線上的主效果/插入也許除了良好的RMS米。
- 什麼是RMS米？ 你能推薦一個特定的品牌/產品？
一個RMS儀表測量的平均水平。 其讀數更加緊密地符合人耳聽到的方式。 RMS電平從-20到-14分貝的目標，也應採取照顧不打0分貝的峰值水平。
BRAINWORX，藍貓音頻和音頻風鎬是一個公正的計量軟件的公司很少。 我排他們根據我的喜好：
http://www.brainworx-music.de/en/plugins/bx_meter
http://www.bluecataudio.com/Products/Product_DPeakMeterPro/~~V
http://www.audiopluggers.com/kmeter/
動態範圍，這在下面的鏈接表後面的人都試圖奪回動態和生活恢復到所要求的專業人士，不要求等響亮大師的音樂運動的一部分。 它使用的是免費的，但現在他們要求捐款。 不過，當我最近在網站上，似乎是在適當的或與聯合國有關的言論（垃圾郵件）的意見部分留在出席“聯合國”，此刻讓我所有下級更大的動態範圍，去這個網站在您自己的風險：
http://dynamicrange.de/en/tt-dynamic-range-meter-plugin-all-platforms-available
有一個自由可用的米，但它有一個老式的樣子，所以我不知道這將是對某些人來說多麼有用。 當你使用它，確保你把它設置在VU設置。
http://www.pspaudioware.com/plugins/tools_and_meters/psp_vintagemeter/
並再次避免撞上0分貝，不惜一切代價，最終混音！ 這是大不了的！
為什麼呢？ 那些剪裁的0 dB點，並會被放大在掌握其結果將是更多的在你的最終結果失真。
創造性，保持一個混合的主要元素 - 踢，重低音，小鼓，語音 - 混合中心。 節奏樂器，一般應為中心，但現在你需要小心他們不打架的聲音。 （記得大約在單踢屁股！）
潘小心 - 你想左到右的平衡是平等的。 使用短延時（小於25毫秒），發送到對面的通道（較低，過濾級別），以幫助平衡和混合立體圖像更好的硬平移軌道。
此外，如果你知道你想讓你的歌曲的順序，讓母帶工程師從一開始就知道。 一招是把前喜歡這首歌的標題曲目數量：01的歌曲之一; 02宋雙等，讓他/她知道專輯標題，藝術家名字，歌曲的最後冠軍。
給您的ISRC和UPC / EAN條碼工程師。 ISRC代碼，你可以在這裡申請（加拿大）：
http://www.avla.ca/isrc/isrc-application-form.aspx
在成品混合文件的開始和結束時留下的一些沉默。 母帶工程師可以採取修剪和褪色的護理。 如果你有一個特殊的褪色，給他/她的變淡的起點和終點。
溝通與你的工程師！ 提供您的想法，可當你需要回答的問題！
母帶工程師'修復'，你給他/她更多的時間來“創意”，實際上集中在掌握。
- 大多數藝術家都沒有時間或錄製/編輯/主的願望，但對於那些有興趣的人，他 們在那裡可以學習如何掌握？ 你教人嗎？
我不教，但有這個網上的程序：
https://www.berkleemusic.com/welcome/izotope
你有沒有任何簡單的掌握技巧，藝術家可以使用，以提高家庭錄音的質量，他們會發簡訊或免費下載的球迷，但絕不會是高亢的標籤，廣播，電影（你需要專業的掌握） 。
此外，以混合的技巧：
我要假設你想知道關於響度方面。 否則，如果你知道你做你自己掌握，就像你希望它聽起來，但不擔心響度，第一混音，並呈現為兩聲道立體聲文件。
那麼你可以使用這些額外的一些想法。
總是用你的耳朵，作為最終裁判。
並行壓縮：它保留了響亮的部分更好地混合，在正確使用時增加了身體和豐滿。
- 如何申請“平行壓縮”......這是在一個標準的“壓縮”插入“選項？ 我在哪裡可以找到它使用它呢？
把你最後的2軌的混音和它的一個副本，排隊的副本在你的DAW直接同步，下面，原來。 複印件上，我們要巴掌大量壓縮：使用2:1或2.5:1的比例在-50分貝的門檻，以最快的速度攻擊時間。 發布時間應該是從200毫秒，高達500毫秒或更多。 混合與您的原始的未加工的文件 - 壓縮文件的產出水平，是創意的一部分。 必須非常小心，你的原始文件和壓縮文件是完美對齊，或你有階段取消的重大問題。
你將需要申請限制後來乾脆以確保你沒有得到任何數字（0分貝以上）接管。
最體面的設計限制器和那些最重大的DAW可以處理2-3分貝的限制相當透明。 一個更好的選擇是為掌握限制器PSP的氙氣或Voxengo的大象。 的UAD的精密限制器是優秀的，但確實需要安裝卡。 新的臭氧5最大化是驚人的，但像大象，它現在提供了一個選擇，幾乎令人眼花繚亂的大量。
（T 3架實際上有幾個像樣的預設不吸，需要很少或有時沒有調整）。
限制的最大峰值輸出-0.3分貝。的WAV and.aiff文件。 對於MP3文件，其等效，限制最大輸出至-2.0分貝。 這是因為，當你這樣低質量的格式呈現，他們不“服從”限制器設置，並經常超過限額。 -2.0 dB設置是一個安全網，以確保你永遠不會打0分貝。
MP3的低通過濾到15千赫。
RMS的水平：我喜歡我的主人“懸停”-6分貝左右RMS最大。 為動力仍然留下了一點空間，同時仍然競爭。 當然，這並不意味著你住在這一水平“釘” - 如果一首歌有安靜的部分，讓他們保持安靜。
抖動（不截斷）後限制為16位的最後文件。
情商嘗試這些想法::
首先，雖然，因為你做了自己的混合，如果你發現你切割/提高超過3分貝 - 停止 - 回去和混音。 你做錯了！
切出頻率低於20赫茲，如果你做一個俱樂部組合。 否則，它應該經常是安全的削減低於40赫茲，但先聽聽！ 記錄本身一樣，沒有任何規則。
人類的聽覺是最敏感在3千赫 - 6 kHz的範圍內，所以，除非你已經這樣做的，小的約1分貝升壓可能幫助響度感知，也許清晰度以及
另一種可能是削減約1分貝，該地區從200到500赫茲。 這樣有一個砍你也可以把它看作是推動低音，同時加入一些清晰。
Before it gets too complex, some extra warmth might be had (if needed) by cutting one half to one dB at around 7-8 kHz; and finally one half to one dB boost around 14-15 kHz for some air.
It is very possible that all these suggestions could totally tank, too, because they just might be inappropriate for the mix. It is an 'ear' art!
Ultimately, one needs to hear the mix in question before making suggestions or recommendations!
It's important to understand that it's difficult or almost impossible to generalize because mastering is not done by formula. Every mix is different: what works great for one mix can be lousy in another. This is why a lot of mastering engineers won't give their thoughts on what's best to do because many people forget that each situation is unique. The big secret is there is no secret.
My Final Words:
The magic starts with the song. If that's right, everything else falls into place!
Follow your inspiration and be true to it to the end!
- Thanks for doing this Karl! You rock! :)
While YOU were waiting…
Wow, has it really been 5 months since I posted on my blog? How did that happen?
How did I go from blogging religiously once a week for a year and then disappear completely? … something to reflect on, me thinks …. perhaps subject matter for a new blog entry :)
Looking at the last post, I thought it would be appropriate to make this one of the ACTUAL video we shot that day with the videographic magic of Adrian Vieni (Wood & Wires) and the acoustic awesomeness of a TrueAxe Guitar .
Here is “The Weather Girl” acoustic ….
Lyrics:
Grassy green and slippery, who knew that ghosts grow like weeds?
THE WEATHER GIRL confides in rain, she finds her gift outside. She finds her way into the bright, white lightning strike
It sets a fire in August rain, explodes and blows the girl down. Electrified by the bright, white lightning stike. The bright, white lightning …
Wind sock says clear skies ahead and extra sensory side effects
Now in an atmospheric state, half asleep, half awake
Her body rises in the bright, white specter's light
開始自己的資深播客播客-思考與建議
自從開始我每週的基於網絡的音樂展示在一年前，我一直在集思廣益不同的方式來幫助更多的人得到音樂的特色藝術家（以及自己）。 這樣的一個想法是播客 ，這將使球迷從網上直播的音樂亮點下載完成後實時流，並把它隨時隨地在任何設備，請他們去。
聽到有關承諾和煩惱，布拉德Gulka（ @ BradMezmo ）後，我的鼓手，興沖衝地採取作為創始成員逗號錯誤的播客團隊，我認為明智的做法是談幾個播客老兵而努力弄清楚如何開始自己的便攜式音頻節目。 正因為如此，我接觸埃班·克勞福德 （誰的特點是在他的播客我的歌， 達到對於洞察力）和邁克爾· MikeyPod （音樂和訪談，基於播客），我很高興連接在過去幾個月Twitter的 。 兩人都高興地回答了幾個問題，我不得不對他們的播客經驗，更具體地說，（謝謝邁克爾和埃班！）從頭開始播客。 在這裡，我們走！......
1）什麼促使你開始播客？
埃班（的RFL）：“早在2004年，我住在英格蘭，我的妻子和我的生活賣我的在線藝術。 埃菲然後得到真正生病，不得不通過緊急手術。 幾乎失去了她，然後長的恢復後，我失去了繪畫的興趣。 我只是不能畫下去。 作為一個有創造力的人，我需要的東西，我的精力集中，所以我把我的音樂，然後後來發現播客。 我成立RFL作為一個不敬的新聞節目，沒有那麼好，然後在2005年我轉過身來推動獨立音樂第一。 在2006年，我簽署了到Podshow（今Mevio ）和我從那裡去。 支持獨立音樂場景成為了我的激情。“
邁克爾（MikeyPod）：“在2005年夏天，我的朋友，，理查德Bluestein（又名馬奇溫斯坦在yeastradio.com ）剛剛開始他的播客，並鼓勵我開始也有當時極少數同志播客。 我有一個相當良好的社會上的朋友的LiveJournal的時間，所以我想它可能是另一種很好的方式在互聯網上與人互動。 我不知道我要談談什麼，但這時，我聽到另一個播客談話，為他洗衣服，他是如何排序，並意識到我可能會很有趣，所以我給它一個嘗試，至少一個很好的20分鐘。“
2）你是怎麼做的呢？ 你如何建立一個podcast？
埃班（的RFL）：“起初，我只是記錄大膽使用的是廉價的麥克風，我已經躺在附近。 我開始了我自己的服務器上託管我的節目。 正如我變成一個音樂播客節目，我開始學習有關記錄，並開始提高自己的生產技能。 在2005年，我去厚顏無恥地PodProducer 。 PodProducer允許我的歌曲和保險槓生活的線索，如電台。
我喜歡生產這種方式，但我的聲音仍然關閉。 我開始使用索尼拉斯維加斯買了1 百靈達調音台和一些更好的話筒。 我的聲音是越來越好，在那個時候，我有我的合同Mevio並開始上Mevio服務器託管我的表演。
多年來，我改善了我的生產和通過齒輪騎車。 Now I am still hosting at Mevio and my main gear has been paired down to Ableton Live , Sony Vegas , M-audio interfaces , and my Zoom H4n from which I run my Blue Ball Microphone . I also use Sony Vegas to produce my animation and video. I create my animation using products from Reallusion , which include Crazy talk, iClone, and Crazy Talk Animator Pro.
Michael (MikeyPod) : “I started out by just recording a sound-seeing tour of a fourth of July event on a little handheld voice recorder. If I remember correctly, I edited it with audacity and then posted it for free on archive.org . Then, I set up a free blog on blogspot to host the podcast. Pretty soon after that I paid for my own domain and hosting, which really isn't all that expensive.”
3) What resources would you recommend now?
Eban (RFL): “I always have, and always will, suggest hosting shows at Mevio . I have been with them since 2005 and have never had a problem. Anyone can sign up for an account. It is free and the hosting is rock solid. You can host there and use their pages as your show site, or put your shows on your personal site as well.
As for gear, I recommend keeping it simple. I do have a lot of nice gear, but I use that for my music. For my show it is a DAW , in this case Ableton live or Sony Vegas , and my H4n . I recommend everyone get an H4n if you are into recording. It runs about $300 dollars and is worth way more. Since it is also a multitrack recorder with full effects and production potential, you can technically produce a show with only that one piece of equipment. I have used it that way in remote situations before. The great thing about Sony Vegas is that it is not only a full featured DAW, but a full featured video production suite as well. Two birds with one stone, or in this case, price tag.
作為一個網站，我可以不推薦WordPress的足夠。 要WordPress.org是好的，但自託管的WordPress安裝是無與倫比的。“
邁克爾（MikeyPod）：“懸崖Ravenscraft podcastanswerman.com是一個播客廠房，知識淵博，和一個真正偉大的人。“ 我使用從powerpress的這使得它可以很方便地張貼在我的WordPress博客播客的blubrry.com 。 雖然我不那裡舉辦我的播客，我自己，我知道你可以在託管blubrry.com以及支付。“
4）你在哪裡尋找靈感/題材？
埃班（的RFL）：“音樂節目， 達到明朗獨立音樂衝擊 ，這是當前的事件和偉大的音樂。 儘管如此，我只放了一個展示這些天，當我覺得它。 我讓靈感找到不同於早期的日子裡，我想我會當工作一天，拿出來讓我的表演做。
RFL系列動畫冒險只是圍繞雜感，穿過我的腦海裡。 嚴重的是，我只是採取日常的事情，我看到，聽到，或與國內，然後誇大了這些想法。 我從一段時間的生產在間隙，但新賽季的動畫冒險現在正在加緊。 如果有人讀這是有興趣做一些配音，保持眼，我的網站上，我將推出鑄造電話很快。“
邁克爾（MikeyPod）：“我更多的活躍天，這是很容易找到靈感。 我的動機，我認為，我希望人們了解世界的不公平的事情。 死刑，動物權利問題，在伊拉克的戰爭。 現在，我主要集中在音樂，我更傾向於找到藝術家，我喜歡和訪問，並按照音樂家包圍他們的踪跡。
我最喜歡的訪談之一是克里斯托弗·威利茨 。 我試圖得到一個與坂本龍一的採訪，但我接觸他的標籤表示，它不會工作，但這個傢伙太棒了採訪和克里斯托弗·威利茨已成為我自己的工作，以及相當的靈感。“
5）如何耗費時間的是它發布一個播客嗎？
埃班（的RFL）：“這是完全的播客。 當我開始，錄製是很短。 為展示我花更多的時間尋找音樂和科目。 當你去，你了解更多的生產，它可以得到更短或更長，這取決於你有多深。
尋找我的片段，音樂，使我的鬆散輪廓腳本仍然需要更多的時間比生產。 一個典型的音頻節目實際錄製大約需要一個小時，我的後期製作需要一個小時左右。 我現在有很多我的生產自動化，如聲道處理等。 生產動畫情節是一個很好的一周或更多的，包括我的生命寫劇本，我的演員等。“
邁克爾（MikeyPod）：“這取決於你在做什麼。 當我第一次開始，我喜歡做採訪，那些花了大量時間。 I had to contact the person I wanted to interview, arrange a time that worked for both of us, research the person, do the actual interview, edit it and then post the interview. It was really rewarding and I met some really cool people that way, but, man, that's alotta work! Now I do mostly music shows which are much easier as I can do it on my own schedule. It takes some time to contact artists and labels for permission, and then choosing songs and putting them in a sequence I like (I'ma little fussy about this), but all in all, it's a much quicker process.”
6) How do you increase your ratings/number of listeners?
Eban (RFL): “Unlike the movie Field of Dreams , just because you build it does not mean they will come. You have to earn your audience. Work it . Get into sweat equity . Meet others, both online and in the real world and always have your elevator pitch ready. Be excited when you talk about your show and let others feel it.
Social network and get the word out that way with other podcasters and social networkers. Never talk about your show as if you are apologizing, or as if your show is inferior to others. Self deprecation is not a great way to get people to listen to your show. Always act as if yours is the shiniest and best show around. Your show is as good, and oftentimes better than shows that are more popular. Act like it.
Always engage your listeners . Don't ever hold back, people can tell when you are faking it. If you are wild, be wild, if you are funny, be funny, if you are quiet, be quiet, if you are controversial, be controversial. Don't pretend to be something you are not, or that you wish you were. Be yourself.
Remember your SEO . The search engines still to this day only see and catalog your text. They can't see your video or audio content, so use your show notes to your advantage. Write in simple and complete sentences and don't try to game the system by keyword stuffing . Write your notes naturally. Use tags to your advantage. Get an account with Feedburner and set it up for podcasting. Set all the iTunes options. Get a Technorati account and claim your site.”
Michael (MikeyPod): “Honestly I really worried about subscribers and downloads much more in the beginning. I think of it more as a hobby now and rarely check my numbers. The things that helped in the past tho were interacting with other podcasters, and social media sites . One thing I have noticed with Twitter is that if I make an effort to really interact with people there, other users are more likely to follow me.”
7) What has been the biggest challenge for you since starting your podcast? How did you overcome this ordeal?
Eban (RFL): “This may sound weird, but I don't abide challenges. There will always be tech glitches and such, but those things are no big deal. If a serious challenge comes up while I am producing a show I just walk away and move on. This is fun for me, if it stops being fun, I take that as a sign and go into my next project. I have many times abandoned a show that was not working and then came out with a different show instead that just rocked. At first I would stick with shows that were not working and the finished product was never really good. Keep it fun is my advice.
每一個播客需要處理的另一個挑戰是越來越厚的皮膚。 會有仇敵。 不僅僅意味著你不知道的人或人，但甚至一些靠近你覺得他們是建設性的批評或可能只是嫉妒。 別讓它得到你，永遠。 這當然是說起來容易做起來難。 百萬人可以告訴你，你做得很好，但如果一個人攻擊你，你猜哪一個在你的頭枝的大部分時間。“
邁克爾（MikeyPod）：“我認為對我來說最難的事情是，當我把同一個主題，我非常熱情，我小的反饋的podcast。 我將發射了有關的東西，並希望整個世界停止和武器跟我走。 我發現自己變得非常生氣，因為他們沒有回應的方式，我希望他們與我的朋友，只是在一般的社會。 我覺得這是一個為什麼我切換到剛剛做音樂播客的很大一部分。 不覺得平衡要么，但就目前而言，這是一個很好的解決方案。“
8）你的時刻，讓你覺得有任何的例子：“這就是為什麼我愛的播客！”？
Michael (MikeyPod): “There are a couple of them. When I first moved to NYC from Houston in 2006 I connected with Eve Beglarian , a composer that I loved and had interviewed for the podcast . I wound up living with her for my first summer there as she needed someone to keep an eye on her apartment and I didn't have any money to pay rent. We've become friends and she has become a sort of mentor for my own composing.
I lived at Koinonia Partners , an intentional community in Americus, GA for several months before I got to NYC. That was another experience that I might not have had were it not for podcasting. I was lucky enough to get to interview Habitat for Humanity founder, Millard Fuller before he passed away. Talking with him was one of the more meaningful moments of my life. He was tremendously inspiring.”
9) Where do you think the future of podcasting is going?
Eban (RFL): “This beast that is podcasting is almost unrecognizable from what it was at the beginning. Being one of the first and seeing all the changes along the way, I really can't answer this. I am however curious to see where it heads next. Podcasting is really exciting, even now as I am not as active as I once was.”
Michael (MikeyPod): “That's a really interesting question for which I have a really lame answer: who knows?! :-) Seriously, I think the really great thing about podcasting is that it can be whatever you want it to be. For me, it's a great way to share music I love with others. For someone like Cliff Ravenscraft (who I mentioned earlier), he found a way to make podcasting his sole source of income and he reaches so many people in really inspiring ways. So, because it's such a flexible medium, it's becoming many different things for many different types of people.”
10) What advice do you have for an artist like me who wants to start their own podcast?
Eban (RFL): “Just go for it. Start producing and learn as you go. Build your momentum and never look back. With that said, don't force it if it is not working at the moment, just move to your next moment and rock it.
It is not your hosting, your gear, or any other outside factor. It is your enthusiasm and content. Make it fun and interesting and everything else will fall into place.
I am always available through email at ebancrawford (at) gmail (dot) com to help any podcaster that may have questions. I may not produce as much as I once did, but I still love podcasting and helping others that may be starting out.”
Michael (MikeyPod): “Make like Nike and just do it . I really believe that action precedes inspiration sometimes. I'll be really interested to see what you come up with and may be looking to you for some inspiration, too, as my focus shifts more toward creating my own music.”
***
I think I'm ready to start creating my first podcast! I already have WordPress installed on my website (thanks to my awesome web guy, Byron McQuay at OneDesign ), recording and editing gear, lots of guests to draw content and inspiration from and social network with, and now some great insights into the challenges and rewards that lie ahead :) (I also dug up some helpful hints from the itunes website that you might find handy).
Big thanks to veteran podcasters, Eban Crawford ( Reaching For Lucidity | on Twitter -> @RfL_Productions ) and Michael ( MikeyPod | on Twitter -> @MikeyPod ) for sharing their experiences and advice!
Happy long (Victoria Day) weekend!
Meghan Morrison
www.meghanmorrison.com
@MegsMorrison
圖片“我的迷你播客工作室”提供 的CC-BY-SA的2.0 塞巴斯蒂安Kupers
Wisdom of the Fish
“I'm just gonna lie here and fish in my mind”…
Sounds like it could be a lyric to a song, doesn't it?
The jelly fish whispered words of wisdom when I put him in my ear.
He said, “You've learned alot about the sea, my Dear, now it's time to use your fins”.
Last week I didn't want to blog … at all. When I don't want to do something I really enjoy, it usually means one or two things:
a) I'm burnt out or
b) The purpose of the thing is changing
I am relieved to say that this time it is the latter.
I am so inspired to create right now (which is what being an artist is all about), but my blog is very ' Left Brained' . It feels like an assignment instead of a mode of expression.
Now that I am 3 articles into my monthly column on Women's Radio , I feel the need to divide my brain a little more for these projects. The articles on WomensRadio are the resource-based accounts of my adventure that I hope other independent musicians will find useful. It is time, however, for this blog to become a more personal and creative representation of who I am as an artist and a person; A brief, weekly insight into my oddball mind that my followers who aren't musicians can relate to along with my fellow musicians (because we're all a little weird in our own way, aren't we?).
One week it may be a poem based around an image of me doing something silly. Another week it may be straight up philosophy and reflection. Perhaps sometimes it will be a piece of art I have created or a song I have recorded… it could be anything. It will be whatever I'm inspired by, not just thinking about.
“我不能甚至現在想想涉水。 I'm just gonna lie here and fish in my mind.” is a phrase that caught my eye when I googled “the fish in my ear said” . It's on page 77 of this edition of F ield and Stream and was said by angler, Colby Lysne.
Meghan Morrison
Albums vs Singles – Which Should I Release?
With the digital revolution vastly changing the face of the music industry, as well as how fans encounter and use new music, it is imperative for artists to 'keep up with the times'. And, with the convenience of the Internet and downloading, there has been an underlying push over the last few years to deliver fresh content to fans on a more frequent basis, in order to stay on their radar and satiate their desire to have more from the artist. But, is there a point where servitude becomes disadvantageous in the new music industry?
Last week, I read an article by Minh Chau called “ The problem with releasing a single each month “. Chau's reflections on whether it is better to give in to our convenience based society or take a 'controlled inconvenience' approach helped me settle the debate that has been on the back of my mind for quite some time now.
Singles are the reason for why many people bought albums in the past. They wanted one song, but had to purchase the entire album to get it. Today, no one needs to buy an entire album anymore… they don't even have to pay for it because it is so easy to download music illegally. iTunes, artist websites, and other online retailers make it very easy to sample songs and only buy the ones you like.
So, if people are only buying one or two songs, why would an artist want to spend so much money recording a full album? Why not cater to the fans and give them a new single every month? Even with my own strong affinity for the romance of albums, this is something I had been considering doing for the sake of 'keeping with the times'. The danger with this, I now see, is two-fold:
Firstly, it is difficult to create buzz and excitement around one single release every month (see Chau's article ). The time and money needed to properly promote my music as a whole would be wasted, because I would be moving on to the next release before the buzz from the first has run its full course. Also, there are more ways to promote an album (and the singles on it), which allow me to create new ways to engage fans each week/month while promoting a bigger body of my art.
Secondly, by becoming a servant to the fans … I become a servant to the fans… and I devalue my own work (see Herbert's article ). Don't get me wrong, I want to be giving with my fans and serve a purpose in their lives, but that doesn't mean I should make myself a slave to that effort. Fans value artists that they see as leaders, role models, and strong, inspiring individuals… not as pan handlers. I want to inspire, not beg.
Because people today expect to have free access to any kind of information or digital file at the touch of a finger, the things they can't have on demand become more valuable (if the product is good). According to Wary Herbert 's research, valuing something through a sense of scarcity may be part of our human nature. Antiques and diamonds are expensive and valuable because they're not easy find. They are desired because of their inconvenience and limited supply.
As such, it still makes sense in the age of downloads to release a full album once every 1-2 years. Unless, of course, your artistic vision dictates otherwise. Sean T Wright is a good example of how a goal-oriented monthly release can challenge an artist and draw attention to one's work.
In summary, I'd rather be a boat with oars and sails navigating my course on the moving waters, than a duck's feather that floats (and gets pulled under) at the whim of the current. We are almost finished writing the next album and that is exactly how we will be releasing it :)
Until next week,
Meghan Morrison
www.meghanmorrison.com
@MegsMorrison
Tweet Hashtag #aiimm to share your own Adventures In Independent Music Making
Image “ BSS 01 ” by Ana Gilbert courtesy of Buraka's Black Diamond . License CC-BY-SA 2.0
Co-Writing From Scratch
In a blog recently forwarded to me from the Songwriters Association of Canada , producer Douglas Romanow discussed the ' magician's rule #2 for songwriters ', stating that songwriters should “never perform the same trick twice for the same audience” and recommended co-writing as a strategy for developing new 'tricks'.
I have collaborated with other musicians in the past, but up until this past Friday, I had never co-written a song with someone from scratch… I suppose, though, there was this one time that my brother and I wrote a parody of Eagle Eye Cherry's “ Save Tonight “. We were young and silly, so naturally our rendition turned to potty humour (including a lyric about toilet bowls being on fire).
There is a lot of support in the industry for co-writing, especially from recording studios, producers and songwriting associations. As the saying goes, two heads are (often) better than one, so problem solving becomes more fruitful (unless the minds in those heads simply do not gel) and having someone to bounce ideas off of can lend new approaches to one's craft. Furthermore, co-writing with experienced songwriters who have had commercial success with their songs can be an incredible learning experience and may open doors to contacts for placement of your own music. There are a number of other benefits, which Bronson Herrmuth has summarized in a great list of reasons to co-write.
I have been wanting to collaborate more with other songwriting minds lately. So, naturally, I was thrilled to be invited for a co-writing date with Heather Hill (a fellow SAC member. She also performed on my webcast at the end of Season 1 )
Aside from feeling a bit insecure in my ability to co-write, I was also in the middle of finishing lyrics to a song I am writing for the next album and was worried that I wouldn't be able to turn that song off in my head in order to create something fresh. Heather, on the other hand, co-writes often and with many people. Like a real professional, she was very prepared and had many ideas for themes already jotted down before I arrived.
Heather was really inspired to write a song that expressed appreciation for strong women who work hard, but aren't always recognized for it. With the way she lit up when talking about this particular song idea, I knew it was the song we had to write together. You have to go with that kind of energy.
We started by doing a free-form brainstorming session. When writing for myself, I would normally start with object writing , create a word cloud with the ideas and phrases that jump out at me , and then build the brainstorm out from those core words/phrases. This time, I thought I would embrace the opportunity to try something different and let myself bounce between the approaches throughout. This resulted in a few short object writes for character development and some messy word clouds that somehow turned into a poem. Heather used the Internet as a resource and pulled out some idioms and other themes from cyberspace .
As we shared our outcomes with each other, we made notes about the ideas and words that struck us as being compelling, paying particular attention to ideas that could become the “ hook ” of the song. Then we attacked the verses, choosing to base each verse around different characters that shared the same basic experience of being strong women who aren't always recognized for their strength and may not see it in themselves.
With the idea in mind that some women go above and beyond the workload of the average woman, we constructed the song in such a way that, when read together, each of the verses could represent a different point in the same person's day (representing their overwhelming workload) OR be viewed as a snapshot of three different peoples' experiences throughout any given day. The chorus takes a step out of the individual character's situation and is a third party recognition of their efforts and qualities of strength.
I was surprised at how quickly the first draft came together. After 4 hours and two delicious banana muffins (baked by Heather) we had the whole thing typed on the computer and ready for melody experiments. Using a computer for writing lyrics was also a new experience for me, as I always veer for pencil and paper. It was fast though, being able to copy and paste, and seeing the full structure laid out on the whole page made it easy to see where the structure was going. I may attempt this approach again on my own when I try out the MasterWriter software.
See you next week,
Meghan Morrison
www.meghanmorrison.com
@MegsMorrison
Tweet Hashtag #aiimm to share your own Adventures In Independent Music Making
Image “ Two heads are better than one ” courtesy of Darron felon . License CC-BY-SA 2.0
How to become a prolific songwriter : A conversation with the man behind 50 Albums in 50 Months
This weekend was exactly what I needed to refresh my songwriting mind. Trying out some of the suggestions offered to me in the comment section of last week's blog, “ Gigging During a Songwriting Phase “, we (the band) decided to test drive a couple of our new songs (one of which hadn't been finished, let alone performed, yet) during the Wonder Women showcase (organized by one of our loveliest webcast guests, Arlene Paculan ). It was a smash success. The audience responded to the new songs with great enthusiasm and it was the exact boost I needed to get my mind out of the “I'm tired of playing my old songs” funk.
Now, with that weight lifted, it is time to shift into writing high gear and who better to look to for output advice than the man who has written, recorded, and released 48 full length albums in just as many months?
50 Albums in 50 Months
Sean T Wright is a fellow Music Success in 9 Weeks Blog Challenger who I became acquainted with last fall. At the time, he was well on his way to achieving a very lofty goal: 50 albums in 50 months . Now at 48/50 albums, he has established himself as perhaps one of the most dedicated and determined musicians in the world-wide independent scene. The man is king of output. Not only has he released over 1000 songs since 1979 (which you can download for free from his website ), but he has also published 12 novels and created 1000 pieces of fine art.
As someone who is having difficulty managing their time to produce even one album since January, I was compelled to pick the brain of this prolific British artist… and he was kind enough to let me!
A Conversation on Writing with Sean T Wright
What inspired you to write 50 albums in 50 months?
Now that's a good question, and one that doesn't have a simple answer. I started out wondering if I could write 12 albums in 12 months. That first 12 months was the toughest, in the sense of getting into a creative routine, learning to write from the heart. Once I'd completed 12 albums, I then thought: is 24 albums possible in 24 months? I want to find out! I'd like to think that I'm an explorer, stepping out into unchartered songwriting territory.
How did you approach the structure for each album?
I'm not sure why, but I choose 12 tracks per album. It kinda felt right. I guess if I'd chosen 10 tracks per album, then I'd now have 57 albums instead of 48 albums! I try to write albums, not just a collection of random songs. While the song topic may vary a lot on each album, I try to use a limited selection of instruments per album, so that they gel with other tracks on the album. For example, one album might be electro in flavour, whilst the next pop, or rock, or acoustic.
How did you work through daily life distractions in order to put out each album month after month over such a long term?
I've always been focused and obsessed with my music. I set aside time most days to write and record – 2 to 3 hours a day. I work very fast in the studio, almost manically, like a painter at his blank canvas, splashing on textures and colours of sound.
How did you deal with writer's block?
Seriously, I don't get it! If I pick up a guitar and strum out a few chords, the rest follows – words, melody, and structure. I have always had a LOT to say, about all kinds of things. I write predominantly about my life, how I feel, at any given moment. So if I feel angry, then out comes the angry song. If I'm at peace with myself, then that song pops out, too. What I don't do is analyse what I write, or try to mould it to a genre or style.
Do you do any creative writing exercises? If so, what are they?
I don't have exercises as such, but I do have routines. One routine is FAWM – the February Album Writing Month – where songwriters try to write 14 songs during the month. Then there's 50/90 – a twin of FAWM where songwriters are challenged to write 50 songs in 90 days from July to October every year. These two online communities are brilliant places to meet fellow songwriters, collabs, and general support.
Personally, though, I write songs in three ways.
Method One : Depending on my mood, I grab my acoustic guitar and hammer out the words and melody, structure and so on. Then I record it while it is very fresh. It may become a fully arranged song, or just a simple vocal acoustic number.
Method two works like this: I grab my guitar, tap out a click track on my digital recorder, then record a bunch of chords straight through, all on instinct – for example, chorus, verse 1, bridge, chorus, verse 2, bridge, chorus x2, mid 8, chorus x2 etc. After that, the rest of the song takes shape, as I add layers of instruments, drums, synths, guitars etc.
Method three : I create beats, whole song structures in EZ Drummer, then record these to tape. From those beats I write songs around them, adding other instruments, and finally vocals, with no idea of melody or lyrics until the basic backing track is done. So I typically have drums, bass guitar, two electric or acoustic guitar parts done before I lay down vocal parts. Other instruments may follow, depending on how the track is working. I try not to overload the song with a multitude of parts. I believe in the old adage that less is more. It's what you leave out that makes a song.
How did you keep up with the demands of MSI9W and your own writing challenge?
I just did it! LOL！ Seriously, I applied the same focus to the Music Success In Nine Weeks challenge. Focus and obsession!
Please describe your recording, mixing, and mastering process.
I'm very old school. I like to start out with a flat board, then shape each sound from there. So drums and bass have to be sonically happening before I move on to the guitars, synths and anything else. I always mix the vocals last, so that they sit in the track as I want them. I like doing different things with vocal mixes – hate reverb! But love chorus in small amounts, which glue vocals together.
I was weened on analogue reel to reel tape machines many years ago, so my ears seek warmth and depth, which recording equipment like Teac and Studer provide. I use the Studer A800 plug-in for recording, mixing, and mastering. There is nothing out there in the digital world to compare, if you want old school warmth and fusion of sound.
On my early CDs (albums 1 to 18), acoustic guitar was recorded in stereo or multi-tracked up to 4 times, usually with mics in XY configuration, panned 50-50%, or often one guitar laid over the other in the mix. A lot of listeners have mistaken the two six string guitar tracks for a twelve string. I crank the middle up as far as it will go to get some punch. I love single tracked acoustic guitar, too, which you can hear on tracks like “I Keep Wondering”, “Lakota Holy Man”, or “Looking Out For You.” ( which you can find alphabetically in his Song Tree )
Vocals are recorded in a variety of ways. Sometimes I get up within an inch of the mic, to get a breathy whispered tone. Othertimes, I'ma foot back when I blast it out! I don't use compression much, if at all. I often use a delay to give sparkle and life. The Boss Delay is rather versatile. I often doubletrack lead vocals as well. I prefer dry vocals and only use reverb now and again for effect on the odd word or line.
Electric guitars are straight into the COSM effects unit. My fav setting is the preset Jazz sound, which has a bit of bite distortion-wise, but remains relatively clean. One thing I try to do is to keep a similar guitar sound per album, to unify things I guess.
My mixdowns are one way or the other per album. Either I use the Boss BR1200 , or the Ableton Live on my computer. With the exception of the album “Underground” which was mixed in Protools, most of my mixdowns have been done on the Boss BR1200 . But from album 28 “ Parkour ” I used Ableton more and more for mixing.
Because I work so fast with the album-a-month project, I need software and equipment I can trust and use swiftly. The Boss BR-1200 , and Ableton Live do the trick for me! ( see below for a more detailed list of gear and progams Sean likes to use )
How did you approach the album art?
My album art comes from many different sources. Some is unique, commission artwork. Other album covers are my own personal photos or even artwork. Some is creative commons (royalty free) stuff, which I feel fits a certain type of album/theme. I was trained as a graphic designer in my teens, so I know a bit about layout and typography.
What impact has the overall experience had on you as a songwriter?
Writing, recording, and releasing so many albums in such rapid succession has been a very positive experience. It has taught me one major thing: there's no point waiting for inspiration. It's already there, waiting to be grabbed out from the dark into the light. Because I have written at least three fully recorded songs every week for the past 4 years, I think my songwriting is stronger now than ever. The response I've had from tens of thousands of people has made the biggest impact on me. There's been almost 1 million free downloads of my music via the internet, which means there are a lot of folk out there listening.
What advice do you have for me, an artist going through a writing phase right now.
我嗎？ Giving advice? Well, I believe that literally anything goes. The creative process for each individual is a very personal thing. For me, I work from my heart, on the spur of the moment, in that moment. It's an honest approach. I don't try to force songs in a premeditated direction. I believe in the organic approach. I feel strongly that the songs are already there, hiding in the shadows of the unconscious, lurking like shy creatures, afraid to voice their shape and form. I'm like a song-catcher, rescuing them from a dark place and coaxing them out into the light, so that others can hear them.
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Gear Sean Likes to Use
(1) AKG C-2000B mic - All vocals and guitars are recorded through it. I love this “for all weathers” mic. Love it! I like to crank up the vocal input so it peaks into distortion, giving a static/driven sound to vocals for a lot of my tracks (listen to “ Beneath The Waves ” on 69 Love Songs Vol 1 as an example). I call my studio Static Queen, an allusion to my songwriting friend – the genius Mark Linkous .
(2) Audio Technica Atus ATR30 cardioid mic – this is an ancient mic that I record acoustic guitars with on my analogue Yamaha 4 track. ( You'll have to get it second hand, as it is now discontinued )
(3) Tannoy Reveal R5A Monitors – Near-field monitors used for mixing down. I also use my pathetic Logitech computer speakers for infrequent mixing. But my real workhorse is the Technics RP – F400 headphones .
(4) I love my Boss BR-1200 digital recording studio , with it's super COSM guitar effects unit. But I also use a PC recording rig with Ableton Live 8 . I adore Live's effects and sound/instrument library – especially the strings sections. I play every instrument (unless credited otherwise), and love tracking. I have Protools with a whole host of software that includes Melodyne, but I use it very infrequently (listen to my album “ Underground ” as an example).
(5) I use Arturia's Analog factory programme (wonderful Yamaha CS-80 sounds), controlled by my equally wonderful Axiom 25 , which controls all of my computer-based software. Since album 28 “ Parkour ” I have used Toontrack's superb EZDrummer for the majority of my drums. I love it! So authentic! Before EZDrummer I used a host of drum loops imported into the Boss or Boss' EZ Compose programmable rhythm.
(5) I tend to record my acoustic guitars on an old Yamaha MT100 analogue 4 track recorder , which gives a warmth and richness, then transfer to digital. Good examples are to be found on my album HELLO , where warmth, tape hiss, and natural distortion abound!
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Big thanks to Sean for sharing his ideas and insight into the creative process. I am officially setting aside 2 hours today just for writing, no interruptions allowed!
Meghan Morrison
www.meghanmorrison.com
@MegsMorrison
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