TALES FROM PRODUCER X #2

Hey gang, here's an excerpt from a recent conversation with PRODUCER X...



BAG: We're in the meaty part of the holiday season. How's it going for you production-wise?

X: As expected I guess. Even with a bad economy we're still pushing out a lot of spots.

BAG: Really? A ton of spots in this slump?

X: You have to keep in mind that plenty of bonus spots are being added to packages to sweeten deals. I think we're using more barter these days too.

BAG: What about imaging?

X: When the spot load gets big, imaging takes a back seat. Sometimes imaging is just a thing I squeeze in at the end of the day if there's time. Usually, I need to clear my head after a big spot day so, I go home, eat something and produce at night.

BAG: Would you say you're imaging has suffered in a big way?

X: Hmmmm, depends on how you look at it. I don't produce things that sound bad, I just keep them simple so they're quick and easy. They're less complicated and less creative for sure. That keeps me from working 12 hour days.

BAG: How does that compare to the past?

X: In the past, I could just focus on imaging. PDs that I've worked for always liked to have plenty of specialty imaging on around holidays. The challenge was to keep it fresh and to try and tie in to whatever was happening that year. You know, if Tickle Me Elmo is hot, you've got to have a sweeper relating to that.

BAG: And how do PDs feel now that everything is stretched?

X: I've never known a PD that doesn't love having fresh creative imaging on the air. Most of them feel like imaging is one solid thing you can own between songs that you can't own. Still, my PD understands that resources are tight to the point that we can't do what we used to do.

BAG: So, how does the people meter fit into all this?

X: Good question. I don't know. Things are too busy to think about that right now. Personally, I think the PPM will be a nostalgic museum piece as radio figures out how to transition to the web with decent monetization. In fact, PPM may be the motivator for the radio biz to speed up the process. Being a slave to the FCC and the PPM is not good for business when the web runs like a liquor store that sells to minors.



Our thanks to PRODUCER X once again for sharing real life experiences as our business transforms. More from X in the near future.

FREE LOOPS ON SOUNDCLOUD

We feel like Soundcloud.com is a great place for audio people to hang out. It's not a big deal like Facebook or Twitter but, it's growing steadily while focusing only on audio. We wanted to encourage you to give Soundcloud a spin so, we're trying the oldest trick in the book...free stuff.

Go to Soundcloud.com and search on brownbagimaging. We should pop up first. There are two free loops for you to grab and each has a mixout or two. One loop is called Day By Day and the other is Down.

We're not connected with Soundcloud in any way. As audio pigs, we just like it and want to spread the word. We'll post more freebies in the future so stay tuned.

YES, WHAT YOU DO IS ART

Music, production, sound design, sweepers, promos, even legal id's. All art. It helps to not think of your audio projects as "noise making" or "knob fiddling" even though your parents may call it that.

If you're creative, you should treat your projects like you treat your mint condition Star Wars collectibles. We found an inspirational quote about producing that sums it up nicely. The quote is from a dude we don't know quoting another dude we don't know so you know it's profound. It goes like dis...

"Greatness in art depends solely on how much love you put in to a work. You put it in, it pays you back, your friends back, and everyone who listens. Moral of this lesson. Never take mixing and mastering lightly."

Sure, sometimes you have to run out on a piece because happy hour drink specials don't last forever and your friends never remember to save you any jalepeno poppers. We've all been there. If your like most people though, true masterpieces don't come out of that scene. The good stuff oozes from long sessions populated by copious amounts of pizza, red bull and a sequestering from the public that rivals the O.J. jury.

WHY YOU DON'T HAVE A BIG CONSOLE

The first two reasons you don't own a monster console are price and space. But when you think about it, you don't really need a dining room and big consoles can be found used for less than some control surfaces. So now what's stoppin' ya'? After all, every major audio genius is working on one and they all they say nothing beats 'em for sound.

The one thing nobody tells you is what it costs to run juice through that big bucket of knobs. Some producers report electric bills of several thousand dollars a month. That includes outboard gear as well but, you get the idea.

WHAT DOES THAT PLUG REALLY DO?

So, they make cheeseburger flavored Doritos now. Some people think they're gross while others plow through the bag like there are diamonds at the bottom. Different folks like different flavors, it's that simple.

Same goes for plugs. There are dozens of equalizers on the market and most have their own unique flavor. When you demo a plug, you should be trying to figure out the properties of that flavor.

There's a lot more to consider than presets and interfaces when shopping for your next audio twister. Developers have burned a lot of calories writing code to differentiate their products and you can benefit by building your arsenal based on specific characteristics that you want or need.

Some eq's are more musical than others. Some compressors are good for drums but not so great on other tracks. Some limiters create more artifacts than others. Before you buy another plug ask yourself if you know the properties of the plugs you already own. It may sound geeky but, why not go try 'em out on different projects and make some notes.

IT'S A SHILLER!

Can you tell the difference between the 3 band eq from one company and a similar 3band eq from another? A lot of people can't. It's confusing and companies that make audio gear know it. Competition is heavier than ever in the gear universe and that has led to some greasy behavior.

It's not uncommon to see a video on youtube from a respectable, professional producer that mentions specific gear used in a recording. It's an independent producer so, you think this person is being cool and honest by posting this vid about an audio technique. What you don't know is that sometimes, a producer has a relationship with a particular company and pushes their gear in his "instructional" videos almost exclusively. Beware when someone says "we did a mic shootout and picked this one because it sounded best". Could be legit...could be someone shilling in exchange for free gear or cash.

Keep your bull**** detector in good working order when you go to a free event, sponsored by an audio company. Often, the panelists for a seminar happen to agree the sponsor's gear is the best.

Most of us know enough to give the stink eye to paid endorsements. That guy wearing the lab coat in the tv commercial isn't a real doctor and we get it. Today he wants you to eat healthy and exercise while tomorrow he'll be telling you to get down to Taco Explosion for the 12pack meal deal. Of course, he'll be sans lab coat.

The regular guy nature of youtube and other sites is blurring the line between info and advertising in a new way. Old concept sure but, new way to chrome plate it.

When it comes to gear, the best beta test comes from those two chunks of cartilage on the sides of your head. If you don't trust your own ears, don't be too quick to pick up on skanky internet advice.

SUMMING MIXERS

Awhile back, we tested 3 summing mixers. We don't want to get into brand names because we don't want to do a shootout. We just want to get some info out there because summing mixers are growing in sales while being the topic of much debate.

First the concept behind the gear. Summing mixers are supposed to help your daw audio sound more like it has gone through an analog console. Your audio is sent through analog circuitry to add warmth but, it's also bypassing your digital summing pipe so you can get better stereo imaging. Some boxes do only that while others claim to add some color to your sound, maybe a little beef on the bottom etc.

Second, our test. It's not so simple to do an accurate test to see exactly what the mixer does compared to your in-the-box mix. The web is loaded with controversy about it and it can be confusing. We talked to reps from the companies to make sure we were using the boxes properly. We chose one inexpensive brand, one middle priced and one high end. All units performed 8 channel summing.

Third, the result. We noticed a difference in sound with all 3 units, however, all of us here at the bag didn't always agree that the difference was an improvement. Overall, the difference was small and sometimes hard to detect. With a little more investigation we found that summing really becomes more significant at 16 channels and beyond. Imagine a 48 channel console. The cumulative effect of all those channels is really where the magic is. For project studios with less than 16 channels of output to be summed, you may find results that leave you wanting more for the money you spent.

More companies are coming out with summing mixers since they've been a hot item and maybe the technology will improve for 8 channel capacity so, this could be an interesting category to watch.

SOCIAL NETWORK DISEASE

Social networking is a blast. For better or worse, millions are hooked on it and it ain't goin' away. With a radio production schedule, however, you may have to rethink how big a part it plays in your day. You may see it as a harmless interruption since it only takes a minute to update your FB status or peck out 140 characters of pure brilliance. Even if that's true, the real cost may be in the mental fissure it creates in your creative energy or concentration. When you're in the zone (or trying to be), intrusions can drain your momentum.

Remember The Shining? Jack was looking forward to isolation so he could focus on writing his book. Ok, not a great example because of the subsequent killing spree. You get the idea though right? Creativity and productivity require the right environment. You've probably heard stories of production directors locking the studio door sometimes to prevent productus interruptus. Great idea if you can get away with it. What good is that though if you allow yourself mucho barge-ins from tweets, IMs, texts, status updates, pokes and vampire bites?

Bottom line - productive people control interruptions. Social networking should be your slave, not the other way around.

VO RECORDING REFRESHER

The human voice is highly dynamic and care must be taken to make it intelligible over loud background sources. Assuming your station has made the mic choice and pre amp choice for you here’s some tips to help improve the quality of your VO recording without going to the PD for more cash.
If you don’t already have a pop filter you can always fashion one from a nylon stocking (preferably a new one) and a metal coat hanger. Another method in a pinch is to tape a pencil (or two) right over the center of the mic to disperse air around the capsule.
Try and deaden the sound around the mic. Move the mic into a corner of the room that has been deadened with packing blankets. You can also isolate the mic from the rest of the room by using a mic boom stand with blankets hanging over them to reduce reflections from bouncing back into the mic
Don’t over compress during recording, you can always add more during mixdown to get the VO above your mix. Make use of a 60hz high pass filter to remove rumble and reduce any pops that might sneak through. If you need to warm up the sound try adding a bump in the 200-500hz range and to increase intelligibility perhaps a little boost in the 7k area.
It’s always a safe bet to get a good full sound recorded, that way you can take the sound in any direction you want at mixdown. Above all make sure your message is being heard. It may be obvious to you because you know the script. Remember it’s going to go by the listener really fast, when balancing do so at a low level and make sure you can make out the dialog.

HOLIDAY AUDIO BARGAINS

As most audio geeks know, Santa is really good at dropping the ball when it comes to audio toys. You must take matters into your own hands as soon as possible and follow these links for special deals on audio goodies. Quickly now! Go stimulate the economy! We know you didn’t do enough on Cyber Monday.

AUDIOEASE
http://www.audioease.com/
If you are an existing owner of any Audioease products you should have an email offer with special upgrade pricing through December 31st.

DELL 1.5TB Backup Drive
http://news.cnet.com/8301-13845_3-10406724-58.html?part=rss&tag=feed&subj=TheCheapskate

DIGIDESIGN
Don’t forget about the STIMULUS PACKAGE from AVID.
http://www.rspe.com/Special-Deals/AVID-Stimulus-Package/Trade-up-to-Pro-Tools|HD.html

FLUX
http://www.soundonsound.com/news?NewsID=12311
http://www.fluxhome.com/

GUITAR CENTER
http://gc.guitarcenter.com/promo/cyber-monday-coupon/

IKMULTIMEDIA
http://www.ikmultimedia.com/Main.html?holidaydeals/index.php

McDSP
http://www.mcdsp.com/index.php?option=com_content&view=category&layout=blog&id=102&Itemid=100008

NATIVE INSTRUMENTS
http://www.native-instruments.com/#/en/?content=1036

OHMFORCE
Way back in October the crazy cats at Ohmforce made a significant reduction in their pricing. Check them out if you are looking for inspirational plugins that stray from the norm.
http://www.ohmforce.com/ViewCategory.do?category=Bundles

SOUNDSONLINE
http://www.soundsonline.com/home.php

SUGAR-BYTES XMAS SPECIAL
http://www.sugar-bytes.de/index.php?lang=en

SWEETWATER
http://www.sweetwater.com/

UNIVERSAL AUDIO
http://www.gearwire.com/universalaudio-2009holidaysale.html

WAVES
http://waves.com/Content.aspx?id=351&HPMF

MUSICAL GIBLETS

Who put Thanksgiving so close to Halloween? We’re still burping up the leftover Kit-Kat’s we had for breakfast. Pilgrims, sheesh, what WERE they thinking?

Doing some last minute Thanksgiving production?

Here’s our unique list of songs to help get your creative skull marbles rolling.
If anything, maybe the list will get you in the mood for gorging on turkey, stuffing, mashed potatoes, gravy, pumpkin pie…oh yeah…and giving thanks and stuff while dealing with dysfunctional family issues.

Adam Sandler - Thanksgiving Song
http://www.youtube.com/watch?v=-z27FKwupds


Dee Dee Sharp – Mashed Potato Time
http://www.youtube.com/watch?v=mQBKpV9emKc

The Original Schnickelfritz Band (1942) - Turkey in the Straw
http://www.youtube.com/watch?v=VsnZxfkkoKQ

Ol Turkey Buzzard (Yeah it’s about Vultures and Gold..we know…Turkey Buzzard sounds cool though)
http://www.youtube.com/watch?v=aRA3SrkqDSE

Ol Turkey Buzzard (On Letterman, weird, funny, okay then.)
http://www.youtube.com/watch?v=HBpzTcW5qIg&feature=related

Lemon Demon – Pumpkin Pie
http://www.youtube.com/watch?v=0VVKx8AcYHs

The Plastic Ono Band (John Lennon) – Cold Turkey
http://www.youtube.com/watch?v=ARDnJLkzq_M

Billy Talent did a version of Cold Turkey… we thank you Canada for BT.
http://www.youtube.com/watch?v=yfrsaI70X5Y

Bob Hope and Shirley Ross – Thanks for the Memory
http://www.youtube.com/watch?v=MwqB2vhrtLE

Bob Marley – Give Thanks and Praises
http://video.google.com/videoplay?docid=668613672836639134#

Bonnie Raitt – I Thank You
http://popup.lala.com/popup/360569449467837986

Johnny Cash – Thanks A Lot
http://popup.lala.com/popup/937030227622711074

Get your sentimental mojo on via Josh Groban.
http://www.youtube.com/watch?v=p2M0GQOgYGg

John Mellencamp – Thank You
http://popup.lala.com/popup/432908518535527148

Alanis Morrisette – Thank U
http://www.dailymotion.com/video/x1lmw3_alanis-morissette-thank-u_music

ABBA (from Mamma Mia soundtrack) - Thank You For the Music
http://www.youtube.com/watch?v=o8e9VOG1yk8

Ray Davies – Thanksgiving Day
http://www.amazon.com/Thanksgiving-Day-Ray-Davies/dp/B000BTJCPY

Dido – Thank You
http://www.youtube.com/watch?v=_1CjbcqhGyU

Sly and The Family Stone – Family Affair
http://www.dailymotion.com/video/xyx71_sly-the-family-stone-family-affair_music

The Ramones – We’re a Happy Family
http://www.youtube.com/watch?v=YPxA7XIGHkQ&feature=related

Sister Sledge – We are Family
http://www.youtube.com/watch?v=wSDh94eQTAk

COMPRESSOR CHARACTER

You hear the word character kicked around in compressor discussions but, what does it really mean? It probably varies from person to person. For this post, we'd like to zero in on one important aspect of character which is the eq slant that many compressors possess.

Most compressor choices you make are accompanied by a default eq choice of which you may not be aware. The info we're talking about is generally not found in gear and plug-in manuals. It's the stuff of pub chatter. While word of mouth is useful, you have to use your own ears before making final decisions. It's worth your time to take something you know well, like your own voice, and run it through various compressors, taking note of differences. Using a variety of program material is important too.

As usual, there are no absolutes. Not every comp delivers magic and with some, the effect is subtle. Of course, there are also occaisons where you don't want extra color and some products do well with that. In the hardware world, the LA 3A from Universal Audio is known for it's transparency so, for level control without much added character, that may be a good choice. Many people say similar things about the Waves Renaissance compressor plug.

Getting back to those with some extra voodoo. You won't hear people say that a particular comp adds a specific amount of eq at a certain frequency. It's a feel. It's more likely you'll hear someone say that a certain unit adds something nice on the top end or is smoother on midrange freqs. Some producers reserve certain comps for specific applications because of their character. This one is for drums, this one is great on vocals etc.

So, choose wisely when building your stable of compressors. Unless you're loaded with cash and drunk on absinthe.

EQ QUICK TIPS

First, always try to cut instead of boosting frequencies.

Second, when cutting use narrower bandwidth settings. Use wider settings when boosting.

These are general rules of course. The ultimate rule to remember is...If it sounds good, it IS good.

THE LIFE OF LES PAUL

Waukesha Wisconsin was home for Les Paul but it would seem he didn't spend much time there once he learned to play guitar. He played on air as a live musician in St. Louis and Chicago radio in the 1930s even though he was born in 1915. He was a high school drop out.

He gets credit for the solid body electric guitar (1939). He developed multi track recording and many audio effects like phasing and delay. The details can be argued but there is little doubt that he was a pioneer in creating a whole new world of recorded music. In 1950, Les hosted his own radio show on NBC. While he kept inventing, he never stopped playing the guitar. He was a relentless performer and won 2 Grammy awards at age 90.

There are other honors of course. The Rock and Roll Hall of Fame, National Inventors Hall of Fame, and the Grammy Hall of Fame are all on the list. He was a creative tornado that even a severe car accident in 1948 could not stop. Paul had only limited use of his right arm after that and had doctors set it in such a way that he could still hold his guitar.

You can get more details on Wikipedia and many other sites. We just wanted to take a moment to applaud his talent and passion.

To seem him in action demonstrating the Les Paul-verizer watch this.

Les Paul died at age 94 on August 13, 2009.

THE PRICE OF LOUDNESS

Is louder better? That debate is raging all over the audio world. While the debate continues, there is no question that overall, recorded music has been getting louder over the past 20 or 30 years.

On vinyl, levels had to be kept lower since louder meant wider grooves and less audio per album. Smart, resourceful people back in those ancient times used the volume knob on their stereo to achieve a desired listening level. Those people had to be resourceful since they spent most of their time running from flesh eating dinosaurs.

Rumor has it that audio playback and listening devices today still have these volume knobs. Why the loudness competition in recording and mastering studios then?

Part of it is driven by artists and part by engineers. Another part is driven by information that says if a person hears the exact same song at different levels, he'll always say the louder version sounds better. We've never seen that study but, that info gets thrown around a lot. Human ears tend to hear more highs and lows as volume increases so, it's certainly not a wild concept. Boomy bass and crisp high end seem to sound good to most folks.

The debate rages on with no end in site. Levels will probably get louder as long as someone is making gear that will accommodate. What does that mean? Who knows but, as audio people we should at least understand the basic principle that more loudness means your audio will be affected in other ways. Trying to get the loudness and sound you hear on high budget recordings in your (project) studio comes at a price.

Mastering studios have mondo expensive and sophisticated gear which most radio or project studio producers will never see or be able to afford. The big guys are in a world of their own and the rest are forced to do what they can with whatever plug ins they can afford or crack.

A very popular loudness tool for a long time has been the Waves L2 limiter. Great plug right? Yes, but the harder you push it, the more it goes all Freddy Kruger on your audio. Limiters limit, it's that simple. More limiting means a ceiling that your audio can't get through. Your audio will sound crunchy and you may notice a loss in top end.

Adding loudness with eq and compression have their effects as well. When you boost eq you add distortion in upper harmonic frequencies. Some say a little of that is good. Hard to know where the line is since too much can smear the sound. Gotta use your ears.

With compression, more equals less dynamic range. Also, there's the pumping. A little might be good but too much could drive listeners nuts.

In the midst of the loudness war are many produers who feel that boosting loudness is simply unnecessary and frivolous trickery. They also believe it's counter to good audio. They would prefer that listeners kick it old school and adjust the volume control to determine level while the audio source remains truer to its origins. It makes for great discussion over a few microbrews. The way it's going, it may join politics and religion in the list of topics most likely to start a fight.

G-G-GARTH RICHARDSON

On the far right is the producer of bands like Atreyu, Chevelle, Rage Against the Machine and MANY more. One of his buds in the biz happens to be our mixer Joe Primeau (left). Both of these guys have seen the inside of nearly every decent studio from LA to Toronto.

Garth stopped by the Bag studios to borrow a stapler and say hi to Joe. They're both Canadian so, hockey was discussed even though it's frakkin' July.

Garth told many wild stories none of which can be repeated. Those are the best kind. Party on Garth.

QUICK TIP

Tube mics are more common these days. Probably because some are made in China and you can pick one up for around $300. The sound is warm and the electronics are even warmer.

To help dissipate heat away from the capsule and avoid damage, mount the mic upside down as seen in the pic.

SECRET SAUCE

Some of the sound you hear on Brown Bag libraries comes from this strange and wonderful piece of analog machinery. Ok, it's not strange, it's a classic Studer A810. It weighs more than a Fiat but, when it comes to getting certain sounds, there is no substitute. It resides in a remote, semi-secret, temperature controlled location for completely fabricated security reasons.

Yes, tape is obsolete at radio stations and almost everywhere else,however, it still has a significant place in the recording biz. We look at it as a plug in. Whatever goes through it will absorb it's characteristics. There are parameters to tweak as well.

This baby does 30 i.p.s and has lots of extras. The speaker is perfect for checking your audio in mono and summed stereo. The VUs are great for mastering. Better than digital for sure. It's biased for 499 and calibrated at +6 so you can drive it hard.

We don't exactly fire it up everyday but, when we need it, nothing else will do. Software developers have been hammering away at tape emulation for years and have yet to nail the uniqueness of this magnificent beast.

Fun Fact: that sticker with the green dot in the upper right was placed there in 1999 by an engineer to signify Y2K compliance. That's way too cool for us to ever remove it.