A couple of years ago, I called Tom Booth, a prolific Catholic songwriter and recording artist. I was seeking advice on the best way to approach putting a demo together of the songs I’d written for Mass. I wanted to know things such as how much I should budget, what players I should bring in – lots of things. He patiently listened to my questions, and at times interjected with some comments, but his final comment really surprised me. He said that in lieu of going into the studio that I should invest in good recording gear and record my demo at home. I was stunned by this. He didn’t say much more than that, nor did he explain his reasoning. But in retrospect, I don’t think he could’ve given me better advice.
So, based upon that conversation, I invested in a high-powered PC with tons of RAM and huge hard disk space, purchased a simple 2-input DAW (an MBox 2), installed ProTools LE, got a couple of good mics and cables, and was off to the races. I was jazzed to have a killer setup with tons of horsepower, and with ProTools, I’d be able to transfer the stuff I did at home to a studio’s computer. Sounds reasonable, right? Well, that was just the beginning of a nightmare…
I soon found out that you practically need a degree to get down even the most basic operations of ProTools. Yes, it’s powerful, and yes, it’s pretty much the standard, but there’s so much to it with all its internal features – not to mention the plug-ins that come standard with it – I had to spend hours and hours learning how to operate the software before I could become even reasonably productive.
That experience turned me off to recording; so much so that I lost my taste for it after recording just a few songs. The thought of laboring over the niggling details of ProTools and trying to understand how all the plug-ins worked with it made me groan with weariness. So I gave it up. After all, all I wanted to do was get my tracks down and output them to a reasonable sound quality – good enough for a demo.
Mind you, I’m not dissing ProTools. If I had the time to spend with it, I’d be all over the software, learning the ins and outs. But the problem is, as is the case with many home recording artists, I have to feed my family, so I work during the day. I also have a huge family, so my wife and I have to split up duties carting kids around from place to place on weekends. That leaves precious few hours during the week to get my songs recorded. With my lack of experience with ProTools, and the daunting task of having to learn it, I simply gave up on recording, and concentrated on songwriting. I wrote a ton of songs, and in 2006 kind of hit a groove with my songwriting where I was really liking what I was writing. But the problem with that was that the songs were piling up, and I knew that I had to get them recorded.
Up until about 6 months ago, it had been about two years since I had given up on serious recording. I still thought about it, but felt a little trapped by the equipment in which I had invested so much time and money. But luckily, a professional tragedy helped catapult me into recording again. For years, I’ve been somewhat of a poster child for high-tech start-ups. And in early 2007, I joined a tiny start-up that was working in the “Web 2.0” space. It was exciting, I made a very nice salary, and got a good chunk of stock to boot. After two-and-a-half months of being employed there, the company shut down. Our team of 12 employees was brought into a conference room and told by the founder that the company was closed and that we should pack up our things. All the assets would be put for sale, including all our hardware and software. Bummer. But what I got out of it was worth way more than gold.
In the company’s fire sale, I was able to get a bunch of equipment; among them were two iMacs that I purchased for my kids. I set them up, and started playing with one of them. In my explorations, I discovered a little program GarageBand. I had heard of it, but had previously dismissed it as yet another Apple “toy-ware” since I had my own full-blown recording solution (we’re all susceptible to our snobby notions sometimes). Well, in my playing, I started putting loops together, and created a song purely from loops. Then I got some valuable input from my blog buddy Ig at igblog who uses an MBox with GarageBand. I hooked up my own MBox, and whammo! I was back in the recording business!
Admittedly, GarageBand has its shortcomings, and some invaluable tools that I had in ProTools, such as direct WAV editing aren’t present. But more importantly, it allows me to concentrate on recording, and it has decent enough mastering tools to output decent demo cuts. Bear in mind that this isn’t necessarily a plug for GarageBand, and although I love it, there are some other fine, very easy-to-use packages out there.
No matter what package you choose, there some important lessons that I’ve learned in the creation of my own demo that I’d like to share:
- First and foremost, the most important thing is to get your music out there. Whether or not you do it in the studio or in the comfort of your home, time to production is critical. Don’t let technological barriers get in your way like I did. There are always simpler solutions that will help speed up your process.
- Speaking of technical barriers, and addressing what Tom Booth said to me, in retrospect, I’d give this advice: Get the recording gear that suits your minimum recording needs, but will give you some decent sound quality. After all, you’re recording a demo, so you’re not after finished production-quality recordings, but something that will convey your sound.
- Once you have a recording solution, you should consider buying some other equipment:
- buy a couple of decent mics. You don’t need Neumann. I use a Nady RM-200 ribbon mic and a Senheiser 830 stage mic. I use both interchangeably for vocals and instruments. Of course, if you already have good mics, definitely use them.
- Invest in a decent mic pre-amp. Presonus makes the TUBEPre which is $99. It’s a great little tube pre that will add warmth to the things you mic.
- If you can swing it, get a little 5 Watt tube amp for recording guitar parts at low volume. It’s amazing what these things sound like when close-mic’d. You can then use your software package to filter and fatten.
- If you need MIDI, I’ve found it a lot more useful to have at least a 44-key keyboard with semi-weighted or fully-weighted keys. And you don’t need to spend a mint on a controller. You can get a decent controller for less than $200.
- Most integrated packages like GarageBand or Logic Express have some basic mastering tools to output your recordings. Learn to use them; especially the dynamics processors like a compressor. Mind you, you don’t want too much compression, but you’ll do yourself a huge favor by controlling your peak volumes.
- Finally, and I know I said this before: Always keep on telling yourself that this ain’t finished product. It’s not supposed to be finished. It’s supposed to convey to the listener what your sound is all about. You can get it close, and you should, but don’t fret over the little imperfections here and there.
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