1. Epic, rappin' in Detroit:
I'm a perspective mc whose tryin to get into the industry. It's not
that i want to make money from it but i want to do it inexpensively
and still be known. I love rockin a crowd and do it for the love. If
i became known i could pereform for larger sets and thats what i want.
The hip hop arena in Detroit is dying. What advice could you give me
to expand and reach the top. I've been rhymin for a while and sound
like no one in particular. I've got much to learn so any advice would
be absorbed and utilized. email me at EGYoumans@aol.com i'm not to
familiar with this email jazz.
Epic the punetical
the doctor's Rx:
Epic, you're on the right track because you realize you need help and you're looking. There
has never been a better time to D.I.Y. (do it yourself) in the music business. The equipment
you'll need is relatively inexpensive and the RECORDING HANDBOOK online here will get you started.
Go to the handbook page and on the AOL browser, click on the print icon, upper right on the
options bar, and print it out.
To get 'known', you'll need to perform, produce a recording of your music to sell and assemble
a press kit. Two great resources online for the independent musician are P.A.N. and
I.M.I.. Check
out my 'Cool Links' page for them and other good places to continue your search.
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2. Sarina, plug-tunin' in PA:
Peace to you and your whole record company! Let me introduce
myself as Sarina a.k.a 2-TAME (Like tha rapper)! I came across your
hompage on the internet and thought it was kinda butta! For tha simple
fact that you have worked with De La Soul, and a Tribe Called Quest, those
to names caught my attention immediatley. I have been a TRU Native Fan for
ever since Tha Plug Tunin' days and Promo days of tha JB's. I admire and
respect the people who you've worked with and I also find it interesting
how you juggle production and and artist work toghter.
Right now I am about to transfer to Temple University in tha fall
of this year to be a Bussiness major with a minor in Video Production (my
concentration in Video Production specifically would be in editing only).
I am of course very interested in the business of music and have been doing
some self-studying of my own about the music business as a whole, but I
would like to know more information about the Executive side and the
business side that will benefit for those who want to go that route and not
the route of the artist. I am very concerned about the future of hip hop
and the direction that it is going. hopefully in tha future I would be
able to change some of the negative vibes that go on on this game of Hip
Hop and make it more pleasant for those to enter at their risk!
Well, I guess thats all I have to give right now. Can you at all
write me back and and maybe we can vibe together and hopefully help me out
on ssome information about how to get to where I want to go! I would
greatly appreciate it.
the doctor's Rx:
Sarina, thanks for the compliments. There's an old saying that your real education begins
when you get out of school and I can tell you it's true, especially in the business of music.
Having said that, take advantage of this opportunity and do your book learning.
When you graduate, if you still want to work in the music business, find a job with a label
or a publisher. That may mean moving to New York or Los Angeles, but you have to go where the
jobs are. If you can get a summer internship while in school, that might help also. Most labels
promote from within, so starting at the bottom and rising through the ranks is how many get
their shot. This is a people business and who you meet and keep in touch with along the way
could likely benefit you later.
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3. Brian, Fatter guitar sounds:
Hi there,
Question: I have always had trouble getting guitar tracks to sound thick on
my recordings. In addition to using Gibsons which have a thicker sound or
humbucking pickcup guitars, is there any mic technicque, mic or ourboard I
should know about to get better guitar sounds? Also, If I use Tele's or
Rickenbackers, how can I fatten or clarify the sound? I like a lot of stuff
from the 60s and 70s. We haven't started yet, but the tape machine is a 2"
16-track Studer, and board is a Neotek and they've got plenty of vintage mics.
I guess mic placement and amp is important as well.
Guitar players whose sound I like:
David Gilmore, Johnny Marr, Robyn Hitchcock, Tom Petty, George Harrison,
Neil Young are just a few that come to mind.
Thanks,
Brian K.
the doctor's Rx:
Dear Brian,
Terms like 'thick' and 'fatten' are pretty subjective. I would say,
in general, Gibson electrics with humbucking pickups are 'fatter' sounding
than Fender electrics. It sounds like all your favorite guitar players are simple,
straight ahead types. Gilmore, a strat through a HiWatt amp with lots of compression.
George Harrison and Tom Petty, Telecasters and Rickenbackers through Vox 30 amps or
TwinReverbs, with the occasional Gretsch hollowbody. None of your favorites are big on
overdubbing stacks of guitars, which is that heavy-metal-huge-guitar wall of sound
approach.
'I guess mic placement and amp is important as well' is an understatement! A 2" 16-track
is a great analog machine for rock and roll and vintage mikes and mike-pre's are also good.
Mike placement can be very creative; several different mikes on the same rig, closein front
and back and room mikes, or as simple as putting a 57 in front of the speaker and going for it.
Knowing what you're after helps alot, i.e. don't waste too much time trying to make your
Ibanez Strat and Fender Princeton sound like a Marshall stack. In the end, none of these can
save lousy playing and shitty tone. So, put on new strings, put a couple of mikes in front
of the cabinet or cabinets and listen. If the room has a sound
that works, mike that and blend it in as you like. Start with a good tone you like and
you'll be way ahead. Don't rely on fixing it in the mix if you can get it right going to
tape! Don't be afraid to experiment and Good Luck.
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4. Jason, Mini-disc recordings?:
What can you tell me about the new Mini-disc recorders coming out like
the Sony MDM-X4? Tascam also is making one, what are your feeling on
these machines? One more question, I just got a new mackie 14 channel mixer,
i spent $450 on it. So would you still suggest a mini-disc or what else I am
looking to spend no more that $1200. I would like to be able to make excellent
demos, and possibly a CD, or is CD out of the question for that price??
Thanks for your time.thanks, Jason S.
the doctor's Rx:
Dear Jason,
The new minidisc machines look really great as far as I can tell. I mean
4-track cassette machines were never meant to make records on either, but it can
definitely be done and the MD units have many features that would come in handy.
Primarily, they are a powerful writing and demo tool but they are not cheap.
The MD units I've seen seem to be in the $1,200 range currently, but like everything
else the prices will be going down. In your case, you've
already got a seperate mixer, so for another $1200, I'd look for a used 8-track 1/2"
machine or a used ADAT and have twice as many tracks to play with. Depending on how
complex your music is and if you have the synths, microphones, etc. whatever to perform
the stuff, you could definitely make a cd and slamming demos. Do read my handbook.
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5. Mike, 18-bit?24-bit?Vocals?:
Your info is great----- however I have a problem --- I want to create
the singing vocals of Tracy Chapman ,the recording was done excellent.
What mic should I use to get that clear sound, what pre amp if
any,(or condenser mic) and what amp.
I own a Alesis ADAT XT and Roland VS 880, I want to record at 24 bits
but the analog=digital converters are at 18 bits and the internal
processor is at 24 bits. Is there a way to bring in sounds at
24bit and have the recording made from this point. I know the
CD can only record at 16 bit but wouldn't the clarity of sounds be
clearer and sharper.
If you can answer these questions you must be a genius.
Thanks
Mike,
the doctor's Rx:
Dear Mike,
Good vocals mainly require a good vocalist! 24 bits, 18 bits...
It isn't going to make any difference if the singer sucks! As to your question,
'...wouldn't the clarity of sounds be clearer and sharper?' My answer is no,
not necessarily. You could record 24-bit, but it would certainly take a lot more time
and money and very likely not even be noticeable in the final product! With the equipment
you already have, you should be able to make an excellent vocal recording.
I read that Tracy Chapman's latest LP was cut on an old Neve console. Don Gehman was
the producer and there's an interview in the Jan.97 issue of EQ Magazine in which he
discusses some of his tricks. I'm not sure what mike was used on her record. A decent condenser
mike like an AKG 414, or Neumann TLM 193 through a Neve preamp is a good combination that
won't require the refinancing of your house. There are also lot's of new, inexpensive tube
mike-pre's out now. He's probably using an old C-12 or U-47 (if you can find one, $6-8,000.00). You can spend less, you can spend a lot more.
My advice is to work on the performance, make sure the signal path is as clean and distortion
free as you can get it, and go for it. A great song, good ideas and performance will win
everytime over a technically superior recording.
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6. MHart, digital warmth?
I'm a recording artist in Vancouver - 3 releases - last one done to 2" studer
analog. For the next record I'm looking at going with the Radar 24 track
digital or hooking the Tascam digital to 24. Any comments for warmth -
apogee filters, that sort of thing. Thanks, MHart.
the doctor's Rx:
Dear MHart,
You say tomato and I say tomato... warmth is one of those words that'll
send the analog-digital warriors to their respective camps! I don't know what
kind of music you're doing, but there are good reasons to work on both types
of machines. Apogee AD-DA converters are great and can really help. I like
to use one on the DAT machine in the mix, which brings it very close to the
sound of a 1/2" 2-track at 30 ips. If the budget is tight, you do what you
got to do.
The Radar sounds like an amazing machine. It's the question of backup which
concerns me with hard disc recording. The Tascam digital 8-tracks sound great
as well and all of these formats can be bounced over to the trusty Studer 2"
for the mixes. And speaking of the mixes and 'warmth', I can only say one
word... NEVE. If not a Neve board, then lots of outboard Neve EQ's and tube EQ's,
please.
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7. Todd, MIDI drum triggers and live overheads!
Greetings! I have grown weary of the "groove limitations" of drum machines in recording
music in my project studio. In response to this weariness, I am developing a hybrid system
of drum triggers on real drums and a pair of cymbal microphones. Thus, the triggers record
MIDI events into a sequencer, while the cymbals (and drum bleed-through) record onto tape.
Thusfar this system gives me huge sound, lets me change drum sounds at the final mix, use
real drummers, sounds realistic with all the acoustic sounds and uses only two precious
tracks of analog tape. My question for all studio gear-heads is: What mics should I consider
for my cymbal overheads? Here are my candidates:
Shure SM-81
AT 4041
Crown CM-700
AT Pro37R
I am considering the Crowns, because of major bang for the buck. The problem is, its
hard to find ways to evaluate studio equipment without using it in your crib. Any Feedback?
-Todd Jones, Huge Sound Generation & Capture Facility
the doctor's Rx:
Dear Todd,
Congratulations on a very creative approach to getting drum sounds and giving yourself
some real flexability in the mix if you need it. For overheads I've used a pair of AKG 414's
alot, but I actually prefer a couple of small diaphram condensers, like the ones you're
considering, in an x-pattern over the drummer's head. Another brand to look at with maximium
bang for the buck would be the Oktava microphones from Russia, which have only been widely
available in the last year or so.
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8. Mark, band in a box ideas?
I am an arm chair guitar player. I don't have a great deal of interest in
getting a band together, but I would like to develope a back up system for
acompanying me. I've seen guy's that play one-man-band kind of things with
drum machines, base and keyboard, I guess somehow sequenced together. What
do I need in the way of equipment to set up this kind of system? I like to
do vocals & lead work and maybe put this all thru some kind of small PA.
What are the basics I would need?
Thanks, Mark in Lenexa KS
the doctor's Rx:
Dear Mark,
Sequencing is exactly how this is done. It's up to you whether you want all
the sounds coming out of one box or seperate drum machine, synth modules, sequencer,
etc. For simplicity, the 'all in one box' approach does mean less to carry and setup!
Always a consideration of mine from my self-roadie days, many moons ago... There
are a lot of all in one type units out there now, from the early pioneering
Korg M-1(I've seen alot of used ones on the market now in the $800 range) to
spiffy newer units from Yamaha, Roland, Peavey, etc. which can go for anywhere
from $1200 to $3000.
As far as equipment goes, a small mixer will handle your drums and synth inputs
and your guitar input if you use an amp simulator (like a Sansamp, for instance).
If you go with the all in one concept, get a unit with extra outputs so you can assign
bass to it's own output, drums to their own mono or stereo pair and the rest of the
music to it's own mono or stereo pair. When you plug these into their own inputs
into the mixer, you'll be able to tweak levels right from the mixer instead of having
to deal with all those menus and pages that invariably torment the 'all in one box'
user.
In a nutshell, that's the major drawback to these units. They are not user-friendly
and if you are not a gearhead, the learning curve may seem frustrating in the
beginning. It's hard to design a box that does as much as these do without it getting
so complicated to operate. Most of them have buttons that do 6 different things depending on
what mode you're in. But, it is worth the trial and tribulation eventually. Don't buy one
without auditioning the sounds and operating set-ups.
For P.A. my suggestion is two small self-powered monitors. I like this approach over one
amp because if one quits, you still have one to work with. You could have a seperate guitar
amp or go with a RockMan or Zoom type unit into the mixer. And of course a microphone into
the mixer for vocals and perhaps a multi-fx unit for some reverb and that should do it.
Your budget and wheels or lack thereof will be major determining factors in how much and
how big a system you put together. Good Luck.
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9. Dave, How do I make a cd-R?
How do you use a CD Recorder to Record a CD Master? I have Emagic
Logic Audio for MAC. I am using the Mac AV (2 analog INS/OUTS) but plan
to get a PCI card soon to handle more tracks. I would like to record
high quality demos, but I am sick of using cassettes. I want to buy a
CD recorder but would like to avoid buying an DAT.
I envision that I can record all the tracks (soon with a 8 IN/8 OUT
analog PCI card). Then send out the 8 tracks (just like an ADAT) to my
external mixing console, adding effects and EQ, and then send them back
into the computer. This saves them as a SDII file or AIFF file, which
can then be burnt onto the CD using mastering software.
I think I'm on the right track, but can't seem to get an answer in
any of my magazines that is specific enough. Electronic Musician had an
article called "Burn Baby Burn" that was helpful, but I'm still not
there.
Also, what will I use the digital I/O on the PCI card for? It
would be nice if I could keep everything digital. For now, I need to go
analog to add effects, EQ. In the future, I may be able to avoid this
with Effects plug ins.
Your comments are appreciated! Dave King
the doctor's Rx:
Dear Dave,
Let's tackle all these issues one at a time! I agree with you on cassettes but you
should have a DAT machine. For starters, it's re-recordable and a cd-r is not.
It's also the digital path back into your computer's digital i/o. Having
a DAT will also mean you won't have to tie up the computer everytime you want to make
cassette dubs. Even with their limitations, you'll still need them occasionally.
If you're intent on keeping everything digital, then you'll mainly need more money.
It's definitely cheaper and, in my opinion, somewhat simpler and more flexible to retain
the analog mixer and effects you're using now. Use the computer for it's strengths, i.e.
fast random access and moving sounds around. Use the analog mixer and effects for their
strengths, i.e. knobs, buttons and faders you can get a hand on and tweak quickly.
This approach also reflects my own bias (naturally!) against the 'all in one box' mentality.
When the 'one box' breaks, you can't work. I'm into duplication of hardware and software.
I like having an ADAT, an analog multi-track, a DAT machine, one computer with sequencing
software and another running digital recording software. Things always go wrong and this
approach allows me to keep working, no matter what happens.
For burning your cd's, you'll need a cd-r unit properly configured and installed in
your computer and the cd-r software. The cheaper software often comes bundled with the units
(I've used incat easy-cd) and will burn audio cd's. They will give you individual track id's
on the cd as long as you keep each piece of music as an individual audio file, .wav file in
PC land and .aiff in Mac land. If you want to make a cd out of one long piece of music and
place the id's where you want, you'll need more expensive software like Red Roaster. Sound
Forge has just come out with an update that will do it too, and others will be coming to
market soon. The features will expand and the prices will go down, we like that.
In any event, I recommend you get a DAT machine. In combination with the computer
you already have, that'll give you two digital recording devices capable of analog and digital
i/o. Add an ADAT to that with a lightpipe interface to the computer and you've got a very
powerful modular recording system with built-in backup. Good Luck.
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10. What's the secret of rap bass?
ey yo your track record is impressive, and I respect that.
I need to know what most people use to create strong acoustic bass type
sounds that you hear on almost all rap albums. I think some may use tb-303s but I don't
know. I want to get samples from what ever machine producers use to make those
sounds.
ez
the doctor's Rx:
Dear ez,
For starters, there is no 'what most people use'. And even when two people use the
same samples, the final sound you get to hear on cd, vinyl or cassette is often radically
different. There are usually at least three stages of EQ and processing that take place.
First, when the sound is initially recorded on the multi-track tape, second when the tracks
are all mixed together and third when the final mixes are mastered. Each of these steps can
drastically change the sound, sometimes for the better, sometimes for the worse.
As far as acoustic bass sounds on rap albums go, usually they are manipulated samples.
On Digable Planets, "Cool Like DAT", the bass sample was a piece of a very fast solo run
sampled into an Akai s-950 and slowed down to make the signature 1 bar loop which starts off
the song. The horn riff was also sampled and slowed down to be in time and then harmonized
through a Yamaha spx-90 to be in tune with the bass. When I mixed, I also ran the bass loop
through a tube EQ to fatten it up some more. We actually brought in a human with an upright
bass to play that part, sampled it and locked it side by side with the sample, but the
group decided to go with the original sample in the end.
As far as what 'producers use to make those sounds', a lot of NY guys are using similar
machines. For drums, the SP1200 is the correct tool. The samples are coming off
of breakbeat records and out of each guy's record crate! For other bits of dust, it's usually
the akai s950, s1000 or an emax or kurzweil k2000.
In the world of rap more than any other type of music, the multi-track often bears little
resemblence to the final mix. There are two primary reasons for this. One is because most rap
records loop individual sounds down the entire song and define sections by muting in the mix.
The other is because the sound of rap is so dependent on the level and EQ balances between
individual tracks. One track might have all the lowend EQ'd out and be soft in the mix while
another will have all the highend EQ'd out and be pumped up to feature the bass. Without the
proper level and EQ applied, you'd never realize it could all work together.
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