Anthony Hamilton “Home For The Holidays” album

I had the honor to record and produce legendary vocalist Chaka Khan, for a duet with Anthony Hamilton on his new Christmas album, “Home For The Holidays”. She was amazing, as you would expect.

Chaka Khan     Anthony Hamilton

I had a new client ask me about how long I’ve been doing what I do. Here is the simple answer:

1. Started recording when I was 11 y.o.

2. Did live sound for neighbor’s band. Attended a session in a basement with them

3. Owned a bass, attempted to play in a band

4. Had a DJ company with a friend

5. Moved to NYC, went to a useless ‘recording school’ in the Village. Waste of time. Got a studio job while I was still in school

6. Started working in studios. First session was 24 hours long. Basically 100 hours a week for 10 years. Hit my 10,000 hours in ’91. And then finally knew what I was doing. Guess that makes me an expert…haha

7. First production credit on a project we recorded to 4 trk cassette. Artist got a 3 album deal on BMG…with the hissy cassette master! One of the best lessons that ever happened to me

8. And we’re still rolling to the present day

As more traditional studios close their doors more project and personal studios open theirs. As nice as some of these studios can be, there is a limit to how extensive the listening environment can be compared to a traditional studio.

Production

Neve 5542 broadcast console

Proper acoustic design and construction can be very expensive and take up a great amount of space. So as a studio owner you do what you can to have as accurate a room as you can. But there is a vast amount of ‘studios’ that have been set up wherever there is room, and often times the positioning of the speakers is less than ideal.

There are many places to find in-depth discussions of acoustics and how they relate to your room. We won’t go into that here, what we will talk about is how you can make do with what you have and allow you a chance to get a mix out of your studio that actually sounds like you intended.

We’ll assume you have a matching pair of speakers that are in good shape. The goal with these speakers is to have them in a place in your room where they will sound good. Having them on a sturdy set of stands or on a table is a good start. It’s important that they be at the same height and ideally the same distance from any walls. If they can be at ear level that helps a lot too.

If you have the luxury of setting up in an empty room audition the speakers in several locations. Play back some music you know intimately and you will have a good idea of where it sounds best. What I mean by ‘best’ is it will sound like the music you know and not some distorted (meaning ‘untrue’) version.

Once you find a place that sounds good, position they speakers so they are matched. Meaning don’t have one speaker in a corner and the other on a flat wall. The one in the corner’s bass response will be DOUBLE of the other speaker, therefore wiping out any chance of you accurately gauging your overall bass level. Get as picky as measuring the distance between each speaker cabinet and the adjacent wall. Get that distance as close to the same for each speaker as you can.

Once that is in place just listen to music you know and to tracks you’re working on. It can take a little while to “know” how your new setup translates in the room. Do some test mixes and listen in your car or any other place you know. You will hear right away if there are problems with the mix. I would recommend using some kind of speaker selector switch that allows you to have a second set of speakers and plug in any other kind of speaker as an alternate listening perspective.

When I am mastering I can always tell if the engineer mixed solely on one set of speakers. There are always issues that would have been caught if there an alternate listening choice is part of the equation. If you can’t set up another set, headphones can be a second choice. Either way, my mixes are always 100% better when I’ve switched between speakers.

I know my mix is “done” when my mix sounds the SAME on both sets of speakers. “But what if I have big studio monitors and little computer speakers for my alternate set?” What I mean by the “same” is the relationships will be retained from speaker to speaker. The volume of the snare drum compared to the lead vocal will be the same no matter what speaker you switch to if your mix is right. Or at least it will translate that way to the real world. And the real world is some one listening on a laptop from down the hall, distorted ear-buds, a car stereo, or a boom box playing low-res mp3’s.

One test I always do is step away from the speakers, walk down the hall, sit in the next room, etc. We as engineers are the only ones who will listen to your mix between two matching speakers AND be paying attention.

Good news from Austin. “We just returned from Austin, TX where we screened at the 21st Austin Film Festival!

Lightning In The Hand was one of only 11 narrative shorts selected to screen in competition.”

 

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What’s new about it? Nearly everything.

So much has changed in the way people consume and produce music. There really are no rules anymore, yet there is still value in using proven practices and skills to make your music, film score or game soundtrack as amazing as it can be.

Its incredible what one can do with a laptop and a command of their preferred software.

For every plugin update, there is also a desire to know, “How did they get that sound on ___________”.

We want this site to be the bridge between the software and those sounds you seek. To answer your questions, and provide the guidance and expertise to help you with your project.

Take a look at the FAQ page. It covers many sides of the creative process that you may find helpful.

We’re excited about the brand new Shop page. You can easily purchase professional services, from start to finish for your music. If you’re midway through your project, check out the Free Listen button.

This can be that ‘second opinion’ that’s helpful when ‘you just can’t tell anymore’.

Great Music. Period.