Project Studio Guy

August 13, 2009

From Frank's Vinyl Museum 5

I never really paid much attention to the “Brady Bunch,” but this LP goes to show you that this whole “Hannah Montana” concept ain't all that original. And the Brady kids did it without Auto Tune!

Here's what Frank has to say about “The Kids from the Brady Bunch.”

Who needs the Partridge Family? These kids do it all -- they even cover the Beatles!

This is the best of the several Brady Bunch albums that were produced in the early 70's. This one doesn't contain the popular Time To Change tune that Peter Brady sang on the show, but the studio band and overall sound quality on this disc makes it superior to other Brady releases. The recording of Sunshine Day from this album was used verbatim in the Brady Bunch movie, a testament to the contribution that vinyl makes even in today's digital world (ok, they probably used the original studio tape, but still...)

What impressed me most about this record was that I could actually identify each individual Brady in most of the songs -- quite a feat when you consider that there are six children's voices mixed together (or maybe it's a sad commentary on the number of hours I wasted over the years watching television).

Listen to the MP3s!

Drummer Man Lay it on me, Drummer Man!!

Candy Marcia makes you a sweet offer you can't refuse.

Love Me Do A cheesy Beatles cover that actually rocks, in its own special Brady way.

Posted by leonolguin at 07:14 AM | Comments (0)

August 12, 2009

Three Blind Babes (and a couple of dogs...)

There are some days in the studio where you can only say, “Well, that was one for the record books.”

Last Monday (August 10) we welcomed to the studio the “Three Blind Babes” (a temporary group moniker of their own invention), Asli, Judy, and Alicia.

We also made room for two of their guide dogs, Judy's dog Sachet, and Asli's dog Jane. (Now wouldn't it have been a weird thing if Jane were Judy's dog? It would have been as though a blind woman named June had a guide dog named Wally...)

Playing bass on the session was our good friend Spike Dean.

They all came over to record a new song written by Asli, “Renew Your Heart.” This was to be the theme song for the counseling service “Renewing Hearts” which is headed by Alicia.

Needless to say, this session was a logistical challenge, especially with three dogs in the house. We eventually had to sequester Abby Rhodes upstairs so that she wouldn't be tempted to try and play with the well-trained and admirably quiet “working dogs.”

The four musicians involved, (Asli on guitar and vocals, Spike on bass, and Judy and Alicia on vocals) were very well prepared, so once we got the dogs settled down, everything flowed smoothly.

I just finished mixing the song this morning. Hope they like it! They all did a great job.

Asli, Alicia, Judy

Spike

Posted by leonolguin at 03:37 PM | Comments (0)

July 24, 2009

From Frank’s Vinyl Museum 4

Arthur Fiedler was a hippie!

This is something we never see these days. “Young People’s” music arranged and performed in such as way that the “older folks” can enjoy it.

Can you image this being done with any of today’s “hit” songs? Can you imagine playing an orchestral version of “My Life Would Suck Without You” for your grandma?

Here’s what Frank has to say about this remarkable LP:

Arthur Fiedler “Superstar”

In the 70’s, anyone could be a hippie!

Wow! Check out Arthur Fiedler, dressed up in his best 70's flower power, conducting the Boston Pops in a whirlwind tour of the music of the day.

This all-hit lineup starts with Jesus Christ Superstar and delivers such favorites as Proud Mary, Bridge Over Troubled Water and Let It Be. Those might be standard fare on albums of this type, but you really have to hand it to Fiedler for covering the Partridge Family's I Think I Love You and the Piero Umilani tune Mah-Nah Mah-Nah, both of which are on this album.

Arthur Fiedler is no slouch. A lesser conductor might have taken the conservative road with tunes like these, but Fiedler gives real meaning to the word "interpretation". I particularly like the way he covers Let It Be, taking it all over the map with sudden changes in mood and tempo and extra notes thrown in during the bridge sections for good measure. I guess that's why Fiedler got to appear on album covers with beams of stars coming out of his forehead while his stuffier colleagues stuck to tuxedos and Beethoven. Bravo!

Listen to some examples!

Let It Be (MP3) A great interpretation of the Beatles hit!

I Think I Love You (MP3) Classical music meets the Partridge Family! Did somebody ask for this?

Posted by leonolguin at 09:35 AM | Comments (0)

July 03, 2009

From Frank’s Vinyl Museum 3

I’ve been using synthesizers since the late 70’s. The first one I ever played was an ARP 2600. (I still don’t know what the letters and numbers mean…)

I still own a couple of “vintage synths” from the early 80’s that I will always keep. If you come into my studio, you’ll see them there, leaning against the back wall, ready to be called into action should anyone want some authentic early synth sounds.

But even before I ever played a synth, there was the Moog. You can hear this pioneering synthesizer on the Beatle’s “Abby Road” album, and there were some intrepid musicians who produced entire albums using the instrument, despite the fact that you could only play one note at a time.

Here’s one from Frank’s Museum:

Here’s what Frank has to say about it:

Claude Denjean demonstrates his Moog skills on this Phase 4 Stereo Spectacular.

Some guys take a traditional record, throw in a few notes from their Moog Synthesizer, and call it a Moog album. Not Claude Denjean. The Moog takes center stage in this 1970 London Records release, in all its raw beauty.

Electronic music never quite "made it" into mainstream culture -- that's probably because it took so much work to produce these albums. For all its wizardry, the mainframe-sized Moog could only produce one sound at a time. Artists like Claude Denjean recorded track after track, probably sitting up late into the night hunched over Moog keyboards and sixteen-track tape machines.

Sounds like these might seem ordinary in today's world of digital sound manipulation, but I try to imagine how radical and exciting the Moog must have seemed in the 60's and 70's before everyone had MIDI cards and polyphonic Korg synthesizers.

(Not to mention ProTools and virtual instruments!)

Hear some examples!

Proud Mary You can almost hear the Moog mouthing the words... wah weft wha wha whob whin wha whitty... ok maybe not.

Sugar Sugar Claude knows how to make your life so sweet... yeah!

Venus A heavy-handed Moog version of the classic tune.

Posted by leonolguin at 02:09 PM | Comments (1)

June 30, 2009

Let It Go

Our dear friends (and long-time members of our musical family) Sandy Ferris (my new co-writer) and Spike Dean came to the studio today to listen to some tracks that we had produced more than two years ago. We had to stop work on their project, along with everything else, when Sheryl was diagnosed with cancer about a year ago.

Now we're back to work, and we were picking up where we left off.

I've done a lot of work since we first produced those tracks. Listening to them today for the first time in over 2 years, the drum programming seemed a little stiff, the piano sounds were a little outdated. I kept thinking as I listened, “Why did I do it that way?” Well, the answer is that I did the best I knew how at the time, and since then I have improved as a recording engineer, and I'm taking advantage of the new and improved recording studio tools that are now available to me.

It would be tempting to go back and re-do all the drum parts, re-record the piano, change the arrangement a little here and there, and generally end up redoing the whole thing. However, we're just going to do a quick remix and “release it.” The tracks still sound good. Sometimes you just have to let it go.

Our subsequent productions with Sandy and Spike will benefit from the improvements we've made to the studio, and the continued development of my abilities as an arranger and engineer.

We did, however, redo the bass part on one song. Spike nailed it in less than two takes. Just as I am continually striving to improve my skills, he's improving as a bass player, too!

Posted by leonolguin at 09:29 PM | Comments (0)

June 19, 2009

From Frank’s Vinyl Museum 2

I couldn’t resist this. Not only do you get to see the cover, and read about the recording, well…you’ve got to hear this to believe it.

Do you love the Beatles? Do you love Dogs? Now you can love them both at the same time!

I've listened to hundreds of Beatles covers over the years in just about every style and format you can possibly imagine. I've got Beatle covers by groups trying to sound just like the Beatles and groups trying to sound like anything but the Beatles. Covers sung by celebrities, TV stars, musicians, and nobodies. Musical styles ranging from Country to Jazz to Classical to Acapella.

Just when I thought I'd heard everything, along comes this treasure: the Beatle Barkers. On it are 12 of the Beatles' most popular early songs, done up by a traditional rock-'n-roll band with the vocals supplied by dogs. That's right. Dogs.

You know at Christmastime when every radio station in town starts playing that annoying version of Jingle Bells where the tune is carried by a dog barking at different pitches? Well, this is an entire album of Beatles songs delivered exactly the same way. They even throw in a few other animal noises like cats, chickens and sheep. If that sounds revolting just listening to the description, wait until you hear the record.

I don't get it. Beatles songs with dog and cat noises is supposed to be entertaining? Cartoons of dogs playing guitars with Beatle haircuts are funny? Am I missing a chromosome somewhere or is this the stupidest idea for a recording since Edison cranked out the first wax cylinder?

The songs of John Lennon and Paul McCartney will go down in history as the most well loved and frequently performed of our generation. I have often wondered why the success of Lennon and McCartney hasn't been duplicated since the 60's -- not even by Lennon or McCartney themselves. I think this record makes the answer obvious. If reaching the pinnacle of songwriting success means you get to hear your music performed by dogs, who would want to bother?

Listen to the examples! (MP3 format)

Beatle Barkers- Love Me Do

Beatle Barkers - Saw Her Standing There

And here's one more just for fun. Beatles' songs as opera. (I am not making this up, and I have proof!)

I Want to Hold Your Hand

Posted by leonolguin at 10:48 AM | Comments (1)

June 03, 2009

Ow! My Ears!

Auto Tune software, when used properly, can help make a good vocal a little better. You can't hear it being used.

Or, it can be used for evil.

Posted by leonolguin at 12:58 AM | Comments (0)

May 28, 2009

Talking to Myself

I’m working on two major projects right now. I’m mixing and compiling a collection of 24 songs by a very talented songwriter from South Carolina by the name of Kat Coffman.

I will be sure to spread the news with great enthusiasm when this project is released, since she has written some beautiful and haunting songs. She has a tremendous gift for melody, the likes of which is rarely heard in songwriting today.

I’m also producing an audio book written by my financial advisor, Tom Palka. I will be reading the book myself, so our hope is that eventually millions of people will get to hear my mellifluous voice. Not to mention the important information contained in the book!

It’s always a fun challenge to do voice over work. I never record my singing for public consumption, and I always get a “real” singer to sing on my song demos. But I’m much more comfortable recording my speaking voice. It can be deceptively hard work. Every imperfection in pronunciation, every random mouth noise, every “trip of the tongue” must be dealt with.

Usually, Sheryl will come in and help me set levels, and then she hits “record” and leaves. I sit in the vocal booth and start reading. I have to imagine myself actually talking to an audience, or to another person sitting across from me. Otherwise, it begins to occur to me that I am literally sitting alone in a little booth, talking to myself. This could start doing strange things to my brain!

After a while, I am able to get in to the flow of what I’m reading, and it starts to really feel as though I’m giving a speech to a live audience.

Sometimes I find it hard to believe that I get to do stuff like this.

Posted by leonolguin at 10:21 AM | Comments (0)

May 27, 2009

Stereo Types

Last Saturday Sheryl and I spent the day upgrading the computer system in the studio. I could go into all the technical details, but I can’t remember them.

The end result is we have the newest version of ProTools, run on a Mac with the latest operating system.

So what does this mean to me?

I have some new tools at my disposal, and the ability to work more efficiently.

What does this mean to our clients?

Actually, not much.

I’ve seen a lot of web sites for recording studios where the proprietor proudly displays a list of equipment and software that he owns and employs in his studio.

I have no such list on my site, and only once or twice in my entire career has anyone asked me about my studio equipment.

And at the risk of perpetuating gender stereotypes, no woman has EVER asked me about my studio equipment.

P.S. I am aware of the fact that the title of this post is a rather weak pun, but I couldn’t resist.

Posted by leonolguin at 11:35 AM | Comments (1)

April 29, 2009

Preparation Is The Word

We just finished a “recording fest” with an artist from South Carolina by the name of Kat Coffman.

She arrived here at 1AM last Saturday, and we started working in the studio on Saturday morning, worked all day and into the evening.

She and Sheryl worked together on Sunday, while I went to play a gig, and we worked all day Monday.

We worked Tuesday until just after 4pm, when she had to leave to catch her flight back home.

So, how much did she get done? At least 20 lead vocals, and backing vocals on several songs.

How did she do it? One word: preparation. She came in with an agenda, and had rehearsed her vocals thoroughly.

Sheryl produced the vocals, coaching Kat through the sessions, and I ran the board.

We love sessions like this, where the artist is well prepared, and a great deal is accomplished.

But now I have a lot of mixing to do!

Posted by leonolguin at 02:13 PM | Comments (0)

April 01, 2009

Important Press Release

FOR IMMEDIATE RELEASE:
Contact: All recording artists and public speakers
Contact Persons: Leon and Sheryl Olguin
Company Name: SOLO Creative Media
Telephone Number: 321-631-4325
Fax Number: 321-634-5879
Email Address: info@solocreativemedia.com
Web site address: www.solocreativemedia.com

Recording Studio to Feature “Talent Enhancing Software”

Cocoa, FL, April 1, 2009. SOLO Creative Media, an audio and music production service owned and operated since 1990 by Leon and Sheryl Olguin, is now featuring the newest thing in production software, the “Antares Talent Enhancer.”

Antares, already famous for their pitch-correction software, which has enabled several formerly pitch-challenged singers to have short-lived careers as recording artists, has now released this new software, which enables those with little or no ability to create highly professional music and spoken word recordings.

“This is a truly amazing piece of software.” said Abby Rhodes, chief morale officer for SOLO, “why, you could just get a dog to go in the studio and bark, and it will come out sounding like that guy who used to do all those movie trailers!”

Ms. Rhodes further stated, “You can record a singer who can barely carry a tune, and they’ll come out sounding like Pavarotti. Which is really something if you’re recording a woman.”

Ms Rhodes also said, “We are hoping that a lot of folks will come in and try this new software. I will greet them all with great enthusiasm!”

All those interested in becoming a star can contact SOLO at 321-631-4325, or info@solocreativemedia.com.

# # #

Posted by leonolguin at 12:54 PM | Comments (1)

March 30, 2009

Studio Teamwork

So how can recording studios work together?

The current technology available to the studio owner means that recordings no longer need to be produced in one studio.

I’m not going to go into an exhaustive study of the advances made in recording technology (because that would be exhausting, and I am not a “gear head!").

As Inigo Montoya would say, “Let me 'splain. No, there is too much. Let me sum up.”

Years ago, recording in multiple studios meant transporting master tapes from one studio to another (with the risk of damaging or losing the tapes!) Now, audio files can simply be transferred electronically from one facility to another. Smaller, in home studios can operate as “satellites” for a larger facility. Basic tracks can be recorded in one place, vocals in another, and the project can be mixed in yet another facility.

The advantages: we now have extraordinary flexibility when it comes to recording.

With the ability to send audio files back and forth, a project can be produced in multiple recording facilities and still end up with a unified sound.

An artist can work with a producer long-distance on basic tracks and arrangements, and then they can get together to record vocals. Smaller, home based project studios can be used in producing professional quality recordings, thus reducing the budget.

What fun we can have when we all work together!

Posted by leonolguin at 11:27 AM | Comments (0)

March 27, 2009

We’re All On the Same Team

Recently I was hired to produce a demo for a songwriter. Usually, this is not a very complex operation. I receive a rough demo from the writer, create a track in the studio, bring in other musicians to play on the track, bring in a singer to sing the song, play it for the songwriter, tweak it a little, and that’s it.

Sometimes, however, we hit a few bumps in the road. This particular project seemed to hit more than its share.

Production was constantly delayed for one reason or another, and we encountered scheduling problems with our singer.

To make a long story short (and to employ a cliché, which I usually avoid like the plague) the end result was a songwriter who was not completely satisfied with the demo we ended up producing.

So, what did we do? We did not have the time or budget to start over, but we did have a pretty good instrumental track. We ended up turning the project over to another producer, a friend of ours based in Nashville, and they will produce a new vocal.

I know they will do what they can to make our client happy.

Occasionally, someone will tell me about another recording studio in town. We have been in business for 19 years now, and have seen many of them come and go. I’ve even heard that some of these studio owners were “putting down” our particular operation, saying things like “They charge too much, its just a bedroom set-up, we’ve got more equipment,” etc. (Somehow they think that statements like that will never reach me!)

My response? None.

I have learned to view the other studios, whether they are “storefront” studios in a stand-alone office space, or “home-based project studios” like mine, as possible collaborators, not competitors.

We’re all on the same team!

Posted by leonolguin at 11:20 AM | Comments (1)

January 18, 2007

Dangerous Curves

After being in the project studio business for 16 years, I thought I'd done just about everything. In fact, my unofficial motto has always been "Everything but Heavy Metal."

Well, I finally got to do something completely new. I was involved in creating a workout CD for Curves International.

Since Curves is a place for women to work out, I obviously didn't know much about it. But I found out how it works: the ladies exercise to the accompaniment of high-energy music, all of which is at 140 beats per minute. At the same time, they play a CD that instructs the exercisers to "change stations” every 30 seconds. Then at the end of six minutes, the ladies are instructed to get off their machines, check their pulse, and then move to the next machine to continue their work out, where they are once again instructed to "change stations" every 30 seconds.

The woman I produced a CD for is the owner of a Curves franchise, and she thought it would be a good idea to substitute affirmations such as "you are beautiful", or "you are strong." for the "change stations now" instruction.

She brought this idea to the corporate offices of Curves, and they gave her the go-ahead to do a test CD. That's where we came in.

She came into the studio and recorded some 60 affirmations, one after the other. My job was then to create a CD that started with 30 seconds of silence, followed by an affirmation, followed by 30 seconds of silence, followed by an affirmation, and then at the 12 minute mark (she changed it from 6 minutes) splicing in the section instructing the exercisers to do a heart rate check and then continue exercising.

I was arranging dozens of little sound bits. It was rather like putting together a giant aural jigsaw puzzle.

Anyway, as I write this, the CD is now being tested at the spa. I will be very interested to find out how it works!

Bye the way, this blog entry has nothing to do with “Dangerous Curves.” I just thought it was a cool title.

Posted by leon at 07:02 PM | Comments (1)

November 15, 2006

The PSG’s New Motto

It’s been a long day.

I’m very tired.

Everything seems impossible when I’m tired.

However, I realize that I’ve not posted anything to the PSG blog in several days.

I’ve been working on projects in a number of different musical genres:

1. Jazz / standards
2. Adult Contemporary
3. Gospel
4. Show Tunes
5. Spoken Word
6. Folk Music
7. Country

Actually, I should just adopt a new motto: “Everything but Heavy Metal.”

I shouldn’t even rule that style out. You never know.

Tomorrow it will be show tunes and standards, gospel and adult contemporary. I’ll have a little more time to write since Sheryl takes over the studio on Thursday afternoons to teach private lessons.

Tiring it is, boring it ain’t.

Wouldn’t you hate to be K-Fed right about now? (Snark, snark)

Seriously, I wish him the best, whatever that may be, as long as it doesn't include blackmail and long, drawn out custody battles.

(He didn't need to get all dressed up!)

Posted by leon at 10:22 PM | Comments (0)

August 29, 2006

Waiting for Ernesto

Well, it took a little longer this year, but here we are, waiting for another storm to hit.

Tropical storm Ernesto is headed right at us here on the Space Coast of Florida, and is due to hit tomorrow. It could be a rather ugly day. As I write this, we are under a tropical storm warning, hurricane watch, and a flood watch.

At this point I don’t know how the storm will affect our recording schedule.

Kevin Watson is due to come on Wednesday afternoon, but he may have to reschedule, we’ll just have to wait and see…

Of course, we hope that our sessions for Thursday and Friday will not be affected; Ernesto is supposed to have moved on by then.

There are some things you just have no control over!

Of course, if our recording schedule is slightly disrupted, so what? Our biggest concern is that everyone will be safe.

Time to go put on the Weather Channel.

You can check out the progress on Ernesto (and any other Tropical storm or hurricane) at National Hurricane Center Tropical Prediction Center site.

Posted by leon at 08:13 AM | Comments (1)

August 24, 2006

Living the Dream

We started a new project today with Barbara Brad, a businesswoman, part-time singer and entertainer who we met through the Cocoa Beach Chamber of Commerce.

We’ve worked with musicians of all skill levels, and we’ve made them all sound good. Sometimes it took a little work, but that’s what we do!

Now with Barbara, my main tasks will be to give her a track to sing to that is worthy of her voice, point the mic at her, hit record, and get out of the way.

To simply say that she is a good singer is something of an understatement.

She told me that countless people over the years have asked with a sense of urgency, “When are you going to record a CD? When you do, I want a copy!”

I now understand their impatience.

Barbara told us that it has been a dream of hers for quite some time to record a CD of her favorite songs (and maybe an original or two!).

Now I have the privilege of helping make that dream come true.

Is it any wonder I’ve been doing this for 16 years?

Posted by leon at 09:30 PM | Comments (1)

July 07, 2006

Everything But Heavy Metal

As I write this, I’m waiting for my 1PM appointment to show up.

I will be meeting with a friend of a member of our musical family. This lady is interested in recording an album featuring her piano playing. While I’ve recorded a couple of solo piano albums myself, this would be the first time I would be recording another solo pianist.

This got me thinking about how many different types of projects I’ve done over the years.

A partial list, in no particular order:

1. Accompaniment tracks for original songs to be performed in churches. (This was back when I first started, and couldn’t even record vocals in my studio yet!)

2. “Work tape demos” for songwriters. (These are “first draft” recordings of new songs, no real arrangement, usually guitar and vocal or piano and vocal only. Just a way of getting the song “up on its feet.”)

3. Instrumental music – in 1991 I recorded and released a CD of Christmas music, all done here in the project studio. (Copies are still available!)

4. “Library Music” – This is background music you might hear on a commercial (if its not a jingle, its library music), or on the Weather Channel during “your local weather.”

5. Classical and contemporary vocal music – One of the most interesting projects I’ve ever done was for a family of talented singers who did classic SATB (soprano, alto, tenor bass) pieces, both classical and contemporary. They were essentially a mini-choir.

6. Live recording – A few years back I taught a seminar on recording for the members of the Orlando NSAI chapter. After the workshop, we held an “open mic” right there in the studio, we made a live recording of it. Some of the members of that class have gone on to become close friends of ours: Spike and Sandy, and Asli and Greg Walker.

7. Voice over work – Back around 2000, I started working with Candace Crowe Design, Inc. recording voiceovers that described various plastic surgery procedures. These would then be played on a “touch screen” computer kiosk, as a way to educate the public. Candace does these for plastic surgeons all over the country, and records all the speaking here.

8. Southern Gospel

9. Gospel Quartet from Switzerland who sang in Schweizerdeutsch (Swiss- German).

10. Contemporary Christian

11. Folk

12. Rock (from the 60’s, 70’s, 80’s, 90’s, etc.)

13. Church Choral Music

14. Youth Choir Music

15. Spanish Worship songs

16. Spanish Children’s music

17. Children’s music

18. Children’s audio books

19. Rap

20. R&B

21. Soul

22. MIDI sequences in just about every music style imaginable

23. Standards, swing

24. Jazz

25. Background ambient music for CDs of spoken word meditations.

26. Dance tracks

27. Instructional CDs

28. Audio books

29. Country! Good Lord, I almost left off Country!!!

Well, that’s enough for now, though I may have overlooked a few. It’s hard to remember what I did yesterday, let alone everything I’ve done over the last 16 years.

Posted by leon at 08:21 PM | Comments (1)

July 06, 2006

Sybil Sings!

In my last post I mentioned an artist who was coming in on July 4th to discuss her recording project.

Well, she’s going to do it!

We were privileged to have Sybil Gage here to talk about her next CD project, which we will begin working on in August.

Here’s a bit about Sybil from the Nature’s Haven Web Site:

Sybil Gage certainly has jazz in her blood.

Growing up in New Orleans, the legendary Neville Brothers would play just outside her bedroom window.

"We lived in the Uptown District, and the Neville Brothers would sing in the corner of our street," Gage said.

"There was always music while I was growing up."

After graduating from New York University, Gage was encouraged to pursue her musical dream by the likes of Spike Lee, Eddie Murphy and Gregory Hines.

To her, the beauty of jazz lies in its freedom for expression. "It allows enormous amounts of creativity," she said. "You don't have to stick to a format."

Says Space Coast Live:

"An accomplished Jazz vocalist. She also does an astonishing volume of original material in a number of Genres. She can perform singly on piano with vocals or will bring the needed musical pieces to fill any venue from Festival to Concert to Corporate event. Sybil brings her dynamic and stirring vocals accompanied by her favorite musicians. Sybil is a vocal presence with out contemporary peer. No one delivers a performance as she does. This is old time Jazz Charisma."

So another accomplished artist is coming to our project studio to record.

Some days I have to pinch myself.

Sybil Gage

Posted by leon at 08:36 PM | Comments (0)

June 21, 2006

Ch-Ch-Ch-Ch-Changes

Sometimes it hits me: I’ve been running the project studio since 1990. 16 years!

It makes me think about how much things have changed.

When we first opened our studio, I had one keyboard, a keyboard amp, and an Atari 1040ST computer (with no hard drive, everything was on floppy disks, and I had to load the programs from floppy disks each day when I started work…). Tracks were done entirely in MIDI and were mixed to cassette. I couldn’t record vocals, so all I did were accompaniment tracks.

I had to take everything that came along in those days. I remember one client who had a great idea for a song. At least he thought it was a great idea. He wanted to mix Blues and Polka. Somehow, I managed to do it for him, but I don’t think it ever became a hit, at least not in this country.

Posted by leon at 03:12 PM | Comments (0)

June 20, 2006

Crazy, Man, Crazy!

“Jim’s my best friend
He ran off with my wife
They left nothing behind
But his old bowie knife

So I boxed it up
Mailed it off to them
They say she took it right from the box
And started stabbing him

Oh, ain’t it strange
How life goes?”

- from “Ain’t it Strange”, by “Crazy” Roy Thomas © 2006

I’m working on “Crazy Roy’s” music today. He’s one of the quirkiest and most original songwriters I’ve ever worked with.

His way of recording is also unique. He comes in and performs live, usually doing only one or two takes, and he is either unwilling or unable (I’ve never determined which) to play to a click track. He also never plays a song the same way twice (if he plays it more than once).

When he’s done, it’s up to me to fill everything in around him, including bass, drums, and keyboards.

It’s a challenge, but one I enjoy.

Anyway, I have three songs of his to work on today.

After that, if there is any time left I will work on an album of spoken meditations by Elizabeth Hess Stamper. This project consists of her meditations, with new-age ambient background music composed, performed and arranged by the PSG.

This couldn’t be any more different than Crazy Roy’s music, which is in the folk vein.

And what else will I be working on? An R&B and Gospel CD by Kevin J, MIDI sequences of standards (think Frank Sinatra, or Mel Torme) for Tony Martin, and backing tracks of classical songs for a friend of mind who is studying voice.

Well, It’ll be my own fault if I get bored.

Posted by leon at 10:27 AM | Comments (0)

May 17, 2006

New Sheryl Paige CD to be Released on May 26th!

I was up until 3 AM last night mixing Sheryl’s new CD, “I Feel a Song Coming On.”

This album will have its premiere at Mamapalooza, where Sheryl will perform a couple of songs from it with her band, the “Spiny Normans.”

This CD falls under the category of “children’s music.” The songs however are not just little sing-along ditties.

Here’s the history behind these songs:

There are countless songs written for children to sing. “I Feel a Song Coming On” contains songs written specifically for parents to sing to their children.

As we raised our daughter Rose, she would often exhibit the behaviors and attitudes common to children who are in the maturing process.

Frequently a child will act self-centered, selfish, self-pitying, or just need to learn how to take care of his or her toys.

Sometimes children just do silly things because they haven’t yet learned the skill of thinking things through.

Being a professional songwriter, rather than constantly lecture my daughter on these matters, I started making up these little songs and singing them to her when the occasion warranted.

The first one I came up with was “Life is Tough When You’re a Kid,” which I used any time she started to complain about her lot in life.

Life is tough when you’re a kid
You get in trouble for what you did
Life is tough when you’re a kid

Life is hard when you are bad
And you’ve got a dad who’s mad
Life is tough when you’re a kid

We won’t let you watch the TV
Or play your video games
And when your friends come over
We call you silly names

Life it tough when you’re a kid
And you’re close to flipping your lid
Life is tough when you’re a kid
Life is tough when you’re a kid!

Life is tough when you are young
And you can’t have any fun
Life is tough when you are young

Life is rough when you’re a runt
And you can ‘t do what you want
Life is tough when you are young

We won’t let you live on junk food
Or stay up very late
You cannot do the things you love
But just the things you hate

Life is tough when you’re a kid
Yeah, it’s worse than being a squid
(We ran out of rhymes)
Life is tough when you’re a kid,
Life is tough when you’re a kid!

© 2006 Blue Allie Music

If she started to behave in a self-centered manner, I would chime in with “The World Revolves Around You.”

The world revolves around you
Everything that you say and do
Yes, indeed, we know it’s true
That the world revolves around you

You know we can’t make a move
Till we’re sure that you will approve
Yes, indeed, we know it’s true
That the world revolves around you

The planet awaits your pronouncements
On everything perfect or bad
Then when make your announcements
We take out a newspaper ad

‘Cause the world revolves around you
We will jump when you tell us to
Yes, we hope you don’t catch the flu
‘Cause the world revolves around you

Whether it’s wrongly or rightly
We couldn’t live without you
We’d miss you both daily and nightly
So maybe it really is true

The world revolves around you
Everything that you say and do
Yes, indeed, we know it’s true
That the world revolves around you

Sometimes…
Our world revolves around you

© 2006 Blue Allie Music

If she started to get too picky about food, clothes, or anything else, I would croon “Little Miss Persnickity.”

Being sung to made our daughter very much aware of what she was doing, and soon the unwanted behaviors and attitudes were occurring less often. If I saw an undesirable attitude begin to surface, I would simply say with a smile:

“I feel a song coming on!”

Rose would quickly declare, “Oh Dad!” and she knew what I was getting at.

My wife Sheryl, wise woman that she is (and also a songwriter!), began writing down these little songs, realizing that as Rose grew up, I would gradually stop singing them, and most certainly forget how they went!

Today Rose is grown up, and is allowing us to share these songs with others (something I would not do when she was little).

When you get your copy of this new CD, here is how to use these songs on your own kids:

Our sincere hope is that your child knows beyond a doubt that he or she is loved deeply and unconditionally. These songs will not work if your child is insecure!

These songs are meant to convey a gentle and loving spirit. A great deal of humor today is very caustic and mean-spirited. We have tried to avoid that type of humor in these songs.

Also, we would strongly suggest that you not use these songs on your child in front of their friends, or in public. You don’t want to unnecessarily embarrass your child.

Each one of these songs addresses a type of child behavior or attitude.

First of all, you have to learn the songs (But you don’t need to learn all the verses. I never got to sing any of these songs all the way through! Rose would always stop me after a few lines).

When your child begins to exhibit one of these less than desirable attitudes, sing the appropriate song to them. (Or, if you prefer not to sing, play them the CD).

Your child will get the message!

After a while, you may only have to say, “I feel a song coming on!”

The songs on the CD:

1. Life is Tough When You’re a Kid – A song for complainers.
2. The Big Elf – For kids who don’t pick up after themselves.
3. Ya Oughta Thank the Academy – For drama queens (and kings).
4. Don't Put Your Feet In My Face - For kids who are learning to control their bodies.
5. The World Revolves Around You – Self-explanatory!
6. The World Revolves Around You – (The “what where they thinking!?!” version)
7. I Predict You Will Live – For kids who whine about how hungry they are.
8. Poor Teddy – Learning to think things through, taking care of your things.
9. Little Miss Persnickity – For the picky kid, who’s still very sweet at heart.

So there you go: another great reason to come to Mamapalooza! A NEW CD from Sheryl Paige!

Tell all your friends, and let’s make this a huge event for the benefit of the artists and the non-profits.

Mamapalooza will be held on Friday evening, May 26th, 6PM at the Holiday Inn Resort in Cocoa Beach. Tickets are $15 ($50 for VIP’s)

Purchase tickets on line at http://www.mamapalozafl.com, call us or email us!

info@solocreativemedia.com

Contact us if you want to order an advance copy of “I Feel a Song Coming On.”

(Cover art by Rose Olguin)

Posted by leon at 02:51 PM | Comments (0)

March 17, 2006

Performing in the Studio – Part 4

How can you keep your confidence level up?

Remind yourself that you are “work in progress.” If you’ve worked hard on your craft, then you are the best you can be at that moment. You may not be as good as you want to be, but if you think about it logically, if you desire to keep growing and maturing as a musician, you may never be as good as you want to be! What you’re recording today is a “snapshot” of where you are now. You’ll be a better singer and songwriter tomorrow or next year, but even then you’ll want to improve. All you can do now is your best, and if you’ve been diligent in practicing, learning and growing, your best will be great!

Remind yourself that your recording can be great without being perfect. There was a sign in the control room of the first studio I ever worked in that stated, “Perfection is Expensive.” Not only is perfection expensive, it’s rare. Listen to a lot of recordings and you’ll begin to hear the flaws. Maybe the recording itself is immaculate, but the song may not be the greatest (slick production can be used to disguise the weakness of a song). In the days before hard disk audio editing and pitch correction software, you could really hear the flaws in recordings. Fluffed notes and off-key singing can be found in abundance when listening to the oldies station. There are hard-core Beatles fans that can tell you about every mistake that appeared in all the band’s recordings. Nowadays, the musical flaws are not so evident (although the highly polished, perfectly edited, pitch-corrected, sound of today’s pop can be said to be a flaw in and of itself, since it often sounds somewhat inhuman), but the idea is the same. Every artist has room to grow, and has to be able to accept where they are in the present. A modern studio may have the technology to disguise some of your flaws, but chances are you still won’t be completely happy with everything. That’s OK. If you’re happy with 95% of it, you’re doing great!

Most performing songwriters set their goals high. They want their album to be the best thing ever recorded. After it’s done, almost every artist will listen to their work and wish they had done certain things differently. That’s normal! Remember, if you’re an “artist for life” it most likely will not be your last album, and the vast majority of your audience will remain blissfully unaware of any flaws you may have detected in your work.

Performing in the studio, whether on your instrument or with your voice, is a lot like live performance in one respect, you get better at it by doing it.

Posted by leon at 09:27 AM | Comments (0)

March 16, 2006

Performing in the Studio – Part 3

So what can you do to prepare for studio singing?

Cutting vocals is hard work! When you perform live, you sing in short bursts, and only for an hour or two. In the studio, you may have to sing intensely for hours on end. You’ll probably have to record “scratch” vocals for the players, then go back and do the lead vocals on each song. In recording lead vocals, you may have to do certain parts of the song over many times, each time trying to match the intensity and energy level of the original take. You may spend some time “punching in” different lines, or even a word or two. If you’re not careful, this hard work can leave your voice feeling and sounding tired and raspy.

The best way to prepare for studio singing is to strengthen your voice by practicing and vocalizing for long periods of time each day for a few weeks before your sessions. Get your “voice” muscles accustomed to working for hours at a time. This may seem like a lot of work (and it is) but you’ll be glad you did it once you hit the studio. When you’re into recording, you don’t need to practice much outside the studio, and you can devote all your energy into recording your best vocals.

Don’t let yourself get swamped in self-doubt. It can be very disconcerting to hear yourself on tape, and notice every little flaw. When your producer or engineer says to you after a take, “That may have been a little flat,” or “That was OK, but I think you have a better one in you,” don’t let your confidence be undermined. You may initially go into the studio feeling pretty good about your abilities, but after trying for the tenth time to get a line right that you thought you knew cold, your confidence may fade fast. You may start thinking, “I’m the worst singer in the world! No one’s going to like this. What was I thinking? Am I really as bad as I think? Do I really sound like that? Are the engineer and the producer shaking their heads and thinking “what a joke” behind my back? What made me think I could do this?”

When these thoughts start coursing through your brain, it gets harder and harder to accomplish anything. How can you keep your confidence level up?

Tune in tomorrow!

Posted by leon at 10:11 AM | Comments (1)

March 15, 2006

Performing in the Studio – Part 2 / Studio Singing vs. Live Singing

Cutting studio vocals can be a daunting, humbling experience for an artist just starting to record.

Like many performers, you’ve probably done most of your singing for a live audience, not into a funny looking studio mic. When you’re singing for the public, you obviously want to sound your best, but you know it will never be perfect. If you’ve been performing a while, you know that audiences have a short memory for little imperfections (if they even notice them at all!). A note sung slightly flat, a missed note on the guitar, these vanish into thin air the moment they appear. Your audience is left with the overall impression. They judge the performance by whether they like your song and your performance. If the audience is “with” you, you can almost do no wrong!

In the studio, you may feel a bit out of place at first. Many singers have a hard time listening to the sound of their own voice. It’s a bit like looking at a beautiful painting from a ways off, and it looks perfect until closer inspection reveals flaws not previously seen. If you put a section of the painting under a microscope and examine it even more closely, you begin to spot even more imperfections. Cracks in the paint, colors blurred, bits of dirt and dust clinging to it.

When you sing in the studio, your voice is put under a microscope, so to speak. Everything is revealed, good or bad. (Especially if the engineer decides to listen to your voice without the backing!) You’ll be able to hear every intake of breath, every smack of the lips, every bit of phlegm rattling around on your vocal cords. You’ll be able to hear every time you drift off-pitch, and every phrase that doesn’t sound quite right. You’ll quickly learn that the human voice can be an endlessly beautiful, but imperfect instrument.

So what can you do to prepare for studio singing?

I’ll be back tomorrow to tell you!

Posted by leon at 11:56 AM | Comments (0)

March 14, 2006

Performing in the Studio – Part 1

I don’t have much time to write this week. I’ve got a lot of work waiting for me in the studio. But that’s how it is for the PSG. I wouldn’t be much of a PSG if I never did any actual studio work!

So here’s the first part of an article I had published a few years back about performing in the studio. If you haven’t done much recording, or even if you have a little studio experience, I think you’ll find this helpful.

Veterans of live performance and studio performance know that these are two completely different musical disciplines.

Recording, whether a demo, a single, or an entire album, can be the most exhilarating experience of your musical life, and also the most frustrating.

Don’t let that statement scare you off of recording, there’s nothing like experiencing the intense creative energy that often accompanies studio work, but for a musician used to primarily performing live, it can take a little getting used to.

Recording Your Playing

Most performing songwriters are also guitarists or a keyboardists, as well as singers, and are used to playing and singing at the same time.

In most studio situations, playing and singing are done separately, and that may take some getting used to.

There are exceptions of course, while Elton John usually records his piano and vocals separately so he can better concentrate on each, his counterpart Billy Joel finds that he sings with more fervor and passion if he plays along with himself.

The majority of artists record their playing and singing separately.

Ideally, you will have practiced your instrumental parts and vocal parts separately before going in to the studio.

In most situations you will begin by recording basic tracks.

If your song calls for a full “band sound” this would mean starting with drums, bass, keyboard and / or guitar.

This can be done with live musicians, or it can be done by an arranger / programmer, using MIDI and sequencing to create the sound of a full band.

If you’re a player / singer, then you may be a part of these basic tracks, either as part of the band, or by dubbing your instrument parts on later.

If you are new to recording, you may find that your playing is not “clean” enough for recording at first (This happens most often with guitarists. Depending on the studio’s set up, keyboard players can record their parts on a sequencer, and have them “cleaned up.”).

Don’t get discouraged, if you keep at it long enough, you’re studio playing skills will soon match your live playing skills.

Tomorrow I'll deal with recording vocals.

Listen to some examples of our work!

http://www.solocreativemedia.com/new_demo.htm

Posted by leon at 11:26 AM | Comments (0)

February 15, 2006

Ripping and Burning

I must confess: I read the comics every day on line. Of course, I have my favorites. I always read “Peanuts” even though they are re-running strips from 1959, and I like “9 Chickweed Lane” just for the beautiful artwork.

I usually go to http://www.comics.com for my daily comics fix.

Occasionally I come across a music-themed strip, and today I found an amusing one in “Arlo and Janis.” (Another of my favorites).

This one got me to thinking about when I first started doing studio work, and how much things have changed. A partial list of changes:

1. We used tape. No one recorded to a hard-drive! No one even had a computer in their house in those days.

2. Editing a recording meant getting out the razor blade and cutting the actual tape. (A task which always made me a bit nervous).

3. As a studio musician, you had to play it right, all the way through. There were few things worse than recording as part of the rhythm section, laying down a basic track, getting all the way to the end of the song, hitting a wrong note, and forcing the entire band to go back to the beginning and try it again.

4. If someone sang out of tune, they had to sing it again until they got it in tune. No pitch correction software (no computers, remember?).

5. There were very few, if any, full-service, professional studios contained in someone’s home.

6. Musicians played music; engineers recorded and mixed it. The two roles were almost never combined.

So, here I am today, a musician who is also an engineer, recording to a hard-drive on my computer, in a studio built into my house.

I must admit, though, my 18-year old daughter does most of the ripping and burning.

Posted by leon at 01:30 PM | Comments (0)

February 03, 2006

Love is in the Studio

Back on January 31, a gentleman came in to the studio to record a love song for his wife of 37 years. It was to be his Valentine’s Day gift to her.

I thought that was an outstanding idea. Maybe I should run a special: “Come record a song for your valentine! Proclaim your undying love in music!”

Flash forward to the morning of February 2. I find a message from a man named Russ who wants to record a song. Naturally I return his call.

It turns out he wants to make a recording of a love song for his wife for their 10th anniversary, which falls on Valentine’s Day.

The problem? He needs to record it immediately, since they are leaving on a cruise within 2 days, and he wants to present the song to her on board the ship.

He does not have a track to sing to. He wants to know if I can help. I tell him I will call him back.

Project Studio Guy to the rescue!

I go online and search for a karaoke track for the song. He wants to do an early hit by Englebert Humperdink, “I’m a Better Man”.

With the help of my internet-savvy daughter and wife, we find a place where the track can be purchased and downloaded. It cost a grand total of 99 cents.

I call Russ and tell him that we have the track. He makes an appointment to come in that afternoon.

It turns out that Russ was at one time a professional singer, as part of a Do-wop group. He has a great voice, and puts everything he has into performing the song. It’s obvious that he truly loves his wife, and wants this recording to be a special gift to her.

It will be!

He was grateful that we were able to help him on such short notice, as he left with his CD.

Ah, ain’t love grand?

Posted by leon at 04:07 PM | Comments (0)

February 01, 2006

Client Limbo

I mentioned yesterday that I had two sessions scheduled, and everyone showed up on time.

It doesn’t always happen that way…

It’s 2:25 PM. I had an appointment scheduled for 2PM, but the client has not shown up.

All I can do is wait.

I can’t start working on another project. He could show up any minute. (For the sake of proper grammar, and to avoid constantly saying “he / she”, I will refer to this client as a “he”.)

I can’t go anywhere or run any errands.

I even called yesterday to confirm (I learned to do this some time ago…)

Now my mind starts to race from thought to thought:

- Did I write this on the wrong day in my master calendar? I have done that once or twice.

- Did I write this in on the correct day, but enter the wrong time? I’ve done that, too.

- Did he decide at the last minute not to come? There have been a few who have done this, and it never occurred to them to tell me.

- Did he just plain forget?

- Is he sick?

- Did I dream the whole thing?

At 2:30PM I call the client and leave a message. I try not to sound too worried. He must be on his way. Now I start thinking like a worried father waiting up for his child:

- Is he OK? Did he have car trouble?

- Why hasn’t anyone called me?

- Was there an accident? This happened to one of my clients. He was on his way here when he was rear-ended not more than 2 miles from my studio. He wound up in the hospital! Fortunately, he made a full recovery, and eventually came in to record.

- Was he suddenly taken ill?

- Was there a family emergency?

At 2:50PM the client arrives. Whew! He’s all right.

So what happened?

He got lost, and did not have a cell phone in the car.

What can I do? I can’t lecture him, and I can’t ground him.

Fortunately, this doesn’t happen too often.

So remember, be on time for all your appointments. You never know what might be going through the mind of the one you’ve kept waiting.

Posted by leon at 04:52 PM | Comments (1)

January 31, 2006

Orderly Day

Yesterday I had two recording sessions scheduled, one in the morning and one in the afternoon.

The first session was for a new counseling firm here in Brevard County, Florida. They wanted to produce a spoken-word relaxation CD for their clients.

They were on time for their appointment, they were well prepared, and everything went smoothly.

They left happy.

The second session was for a gentleman who wanted to record a love song as a Valentines gift for his wife of 37 years.

He was on time for his appointment, he was well prepared, and everything went smoothly.

He left happy, too.

I like days like this.

Of course, there are other days when things don’t go this way.

Tune in tomorrow!

Posted by leon at 11:08 AM | Comments (0)

January 24, 2006

Making Tracks

Yesterday was one of those rare days when I spent the entire time working on the music of one client.

Jim McDonald has been a member of our musical family since 1990 (!). In fact, he was one of our first clients. He found us by answering a little ad we had placed in Contemporary Christian Music magazine. At the time we offered a service where we produced accompaniment tracks for original songs.

Since then, I have produced over 60 tracks for him personally, and another 120 or so for artists that he has produced out in San Diego, California.

He does Southern Gospel music, using one of the deepest, richest bass voices I have ever heard.

We’ve only met once in 16 years!

It is an amazing honor to be involved in the music and ministry work of this remarkable man and his wife Katie. They've been all over the world, sharing the gospel through song and ministry, and his travels take him and his wife to third world nations.

To find out more, check out http://www.jimmcdonald.org.

I’ve produced most of the tracks for his CDs.

So how do we work together without him ever setting foot in our studio?

The process starts when he sends me a CD with the songs he wants to record. (He doesn’t write his own material, but has truly developed a knack for selecting songs for himself). I create new arrangements of the songs, making adjustments to the tempo, key and instrumentation according to his suggestions.

I send rough mixes of these tracks to him, and he suggests further changes.

When the final versions of the tracks are approved, I save the individual parts as .wav files, and ship them to the studio in San Diego, where he and his engineer add the vocals and create the final mixes.

And presto! A new Jim McDonald album! (Well, its not as easy as I make it sound…)

So today, it’s back into the studio to work on his tracks. We’re in the stage where he has heard and commented on all the rough mixes, so now we’re producing final versions of the tracks.

Time to go to work!

Posted by leon at 11:06 AM | Comments (0)

January 22, 2006

Working With Friends

One of best “perks” about what I do is that many of my clients become dear friends. They become members of our “musical family.”

What makes them such a cherished family?

They understand the value of the work I do, so they pay their bills in full, and in a timely fashion. Every business owner can appreciate that!

Also, they send other musicians our way. Many members of our musical family have gained membership because another family member sent them our way.

As our friends consistently record in our studio, I get better acquainted with their work preferences (what kind of monitor mix they like, what kind of mic they are comfortable with, what kind of tea they like, how they take their coffee, etc.). My wife Sheryl and I also look for ways to help them feel more comfortable and relaxed.

For those who’ve worked with us a long time, after a while, our home becomes their “home away from home.”

I also learn what they are looking for musically, and can help them create a “sound”, or an aural identity for their music. Something that is uniquely “them.”

Creating a professional recording is very much a collaborative art, and we are privileged to be a part of it for a great many creative people.

Last weekend (1/21/06) we had two of our favorite family members over to do a little recording: Spike and Sandy.

Sheryl and I met them through our involvement with NSAI (Nashville Songwriters Association Internationl). Sheryl eventually became one of the coordinators of our Orlando, Florida based chapter, and Spike and Sandy are faithful members.

Sandy is a songwriter, and she and Spike perform together as “Sandz of Time.” Sandy plays guitar, and Spike, bass.

A while back they started working on a new CD project with us. Like many of the folks we work with, they both have “regular” jobs so they have to record whenever they can find the time.

For this session, Sandy was to lay down her lead vocal over an already completed track for one of her songs, “He Snores.”

As always, she was ready to go, and with a little coaching from Sheryl was able to complete her vocal in an hour.

Spike then went in and added a “snore” sound effect. It took him all of 30 seconds.

In 1-½ hours, we had a final mix.

If only more sessions were this painless!

It never felt like work, it was more of a pleasant visit with a couple of dear friends with a little recording thrown in.

Sandy immediately paid the bill for the session.

After that, we all went out to dinner.

Sometimes, the life of the project studio guy can be pretty sweet.

Spike and Sandy

Sandy Enjoys the Recording Process

Posted by leon at 10:01 PM | Comments (4)

January 18, 2006

Today’s Earworm

What music is running through my mind today? Pretty much any song from Kevin Browne’s upcoming CD (which I am currently mixing.)

You can see Kevin in action at last year’s Christmas get-together.

What I really like about his music is its originality. When you hear a Kevin Browne song, you never mistake it for a song by anyone else!

Well, if you’ll excuse me, I’ve got to get in the studio and do some more mixing.

Check back soon, as I plan to talk about meeting famous musicians.

Posted by leon at 11:15 AM | Comments (0)

January 17, 2006

Merry Christmas! (A Little Late…)

It just occurred to me that I never put up any pictures from our first annual Christmas “open house / studio” get-together.

Back in December 2005, we opened our home and studio to our entire “musical family”: everyone who had ever recorded in our studio.

These folks have become so much more than “clients.” They are friends. They are family.

We have something that brings us together: our love of music and a firsthand knowledge of music’s power to encourage, inspire, and even heal.

Every performing songwriter who came brought their instrument, and was invited to perform for the group.

This resulted in a most eclectic impromptu concert, and went a long way in fostering an increased sense of community among these creative musicians.

We’re looking forward to capturing for posterity (i.e. record!) the results of this creativity for many of these cherished artists in the coming year.

We plan to make the December Open House an annual tradition. The next one will be held on Sunday, December 3, 2006. If you live in the Central Florida area, mark your calendars now!

You don’t necessarily have to come record at SCM studio first, but that wouldn’t hurt!

Dean Morrison and Kevin Browne Entertain the Crowd

Sandy Enjoys the Festivities

Asli Walker Gets Into the Christmas Spirit

Posted by leon at 01:22 PM | Comments (0)

January 16, 2006

A Real Job

Another Monday and it’s time to take stock of what I have to do:

1. 12 songs to edit and mix for one client.
2. 7 songs to arrange and begin recording the tracks for, for another client.
3. A 10-song CD project where I am arranging, performing, and producing the tracks for a client from California. I’ve already done preliminary versions of the songs, now it’s time to edit them and produce polished versions.
4. A spoken-word recording session later this week.
5. Two tracks to produce for a Senior Citizens’ show.

Am I complaining? Of course not, its weeks like this that help keep the doors to our business open.

Now comes the trick: while doing this work, I need to be working to get more work to do when this work is done. (Follow that?)

So I also need to:

1. Talk to those musicians we’ve met who have expressed an interest in recording this year.
2. Contact the musicians and businesses that have done work with us in the past.
3. Contact those who have started a project but have yet to finish it.
4. Follow up on those who have recently asked for information about what we do.
5. Find new people to contact who may have never heard of us.

As a project studio owner, my desire is to serve musicians (songwriters, instrumentalists, singers, singing groups, etc.) and businesses (recording voice over work, radio spots and jingles, promotional CDs, etc.).

I want to do the best work possible for my regular clients, and keep bringing in new clients.

Those who regularly come to record at SCM have my eternal gratitude.

If it weren’t for them, I’d have to get a real job!

Posted by leon at 09:51 AM | Comments (0)

January 09, 2006

Well, Now I’ve Heard Everything! (Or Have I?)

I read an article this morning (1/9/06) in the Wall Street Journal that brought back some memories. It seems that “backmasking” is back in the news.

In case you’re too young to remember, back in the late 60’s a Michigan Disk Jockey named Russ Gibb received a call informing him that he would hear some interesting things if he played the Beatle’s “Revolution 9” backward. This was obviously someone with too much time on their hands (and who knows what they were smoking…)

Russ put the record on his turntable (some of you may remember records and turntables…) and spun it backwards. He heard something that sounded like “Turn me on, dead man.” When he mentioned this on the air, it fed rumors that Paul McCartney was dead.

Soon music fans were finding other “hidden” messages when playing their other records backwards.

In the early 70’s there were those who thought that this might be a plot by Satan, who was using these rock groups to brainwash listeners.

There was one fellow (who’s name I cannot remember) who made it his life’s work to expose this satanic plot.

He traveled around to church youth groups to warn the “young people” (that’s what they called us in those days) of this wide reaching conspiracy.

It was his contention that these messages were deliberately placed, and were conveyed subliminally when the record was played normally.

One of his most famous examples of “backmasking” was taken from the Led Zeppelin song “Stairway to Heaven.” (Which, if you think about it, doesn’t make much sense played forward…) Among other things, he found hidden in the backwards rendition of the song the infamous line: “Here’s to my sweet Satan.” I’ve heard it, and if you strain your ears long enough, you can convince yourself that that’s what’s being said. But to what end? I was never tempted to abandon God and start serving Satan.

(You can listen to this and other examples at http://www.jeffmilner.com/backmasking.htm.)

My original reaction to all this back then was dismissive: the messages contained in many of the songs were dreadful enough in plain English.

And just who thought of the idea of playing records backwards in the first place?

With the advent of CDs, which cannot be played backward, this practice died out. But now, according to the Journal, playing recordings backwards and searching for hidden messages is enjoying a growing cult following, thanks to Web sites and software that do the trick. (I can play audio files backwards in ProTools, but I don’t spend much time doing it…)

The Journal introduces us to a young man named Jeff Milner, who says that his site, http://www.jeffmilner.com/backmasking.htm has been hit more than 3.5 million times.

I must point out that he says on his site: “Years ago someone told me that if you played Led Zeppelin's Stairway to Heaven song backwards that you could make out "satanic messages". It is not my opinion that Led Zeppelin and the other artists here were given some kind of evil power to make these backwards sounds have a satanic message. And, no, I did not create this to show the evils of Rock and Roll. Instead I made this flash piece for two reasons:

1. I was new to flash and wanted to be better at it and
2. The reverse files sound cool.

Right on, Jeff!

Other sites such as http://www.talkbackwards.com, encourage visitors to feed in audio files, then play them backward.

I’ll leave you to draw your own conclusions about backmasking. All I have to say is, “!oiduts MCS ta DC ruoy drocer ot erus ekam”

Posted by leon at 10:51 AM | Comments (1)

January 07, 2006

Caution! Hot Cocoa!

I had the pleasure of recording four delightful ladies yesterday.

They call themselves “Hot Cocoa” and sing four part renditions of the kind of songs about which folks wistfully say: “They don’t write ‘em like that anymore!” (Songs like “Fever,” “A Tisket, A Tasket, or “Rock Around the Clock.”)

These ladies have a definite sense of “joie de vivre” which is defined as a “hearty or carefree enjoyment of life.”

They clearly love each other (as revealed in their merciless kidding) and love to sing together.

Like most “amateur” singers, they haven’t done a great deal of studio recording, and they weren’t completely happy with the sound of their voices. They soon got over it, refusing to take the whole thing too seriously.

I have actually appeared on the same bill with these ladies, dating back to my days as a member of the “Len Turner Band.”

We played together at some long-forgotten function, where we (the band) provided the dance music, and Hot Cocoa provided the entertainment.

Naturally, they were a hit. (We weren’t too bad either…)

Its days like this that keeps me in this business. Recording some fun music with some fun ladies.

Posted by leon at 01:33 PM | Comments (0)

January 05, 2006

Another Year

I couldn’t think of a better title for this entry.

I haven’t written anything in a while. I’d sit down time after time, determined to put together something brilliant for this blog, something that would change the world for the better. Something truly profound.

Well, having set the bar that high, is it any wonder that I couldn’t write anything?

OK, no more excuses. It has finally dawned on me what this blog really is – it’s a diary of my experiences in the studio. What am I doing in there day after day? What is it really like to work with all kinds of musicians and songwriters? What do I think about the music business, and about making a living in music?

Sometimes, I’ll just be answering the question: what did I do today? (Or yesterday, since I will usually be writing this in the morning.)

Other times I may land on a subject that’s come to mind.

So I’ve determined to keep adding to this blog, and talk about my life as a musician and recording studio owner.

So what do I do? Those of you who have been here before know that I am a:

1. Husband
2. Father
3. Keyboard player
4. Composer
5. Songwriter
6. Arranger
7. Producer
8. Recording engineer
9. Cheerleader for singers and songwriters
10. Teacher – I teach people how to play keyboards the way I do (See my other blog, www.keystothekeyboard.com.
11. And a few other things that will undoubtedly come to mind after I post this…

Every day I’m wearing one or more of those hats. So everyday (or as close to every day as I can come) I’ll write something about it. Some days it may be just a sentence or two. After all, some days I have some long recording sessions, or I’m traveling and teaching a workshop somewhere. At other times I may really have something on my mind, and I might end up writing more than I planned.

Either way, I hope you’ll find my musings in music enjoyable, funny, and maybe a little enlightening.
Happy New Year!

Posted by leon at 10:48 AM | Comments (1)

November 10, 2005

Time to Update the Blog!

Time to get back to adding to this blog!

There’s been so much happening around here that the few minutes of writing it takes to update this blog keeps getting shoved aside. Well, no more! (I hope).

We’re coming into my favorite time of year. Here in Florida that means that the stifling heat and humidity are lessening, and the hurricane season is largely over. (Hurricane Beta!)

We’ve been wrapping up some out of the ordinary projects at SCM studio. One of the most cherished members of our musical family, Carol Michaels (who goes by the Native American name Crystal Woman) has been working on a children’s book called “The Painted Pony”. The book will be offered with an accompanying CD, which will feature her reading of the story (with background music by yours truly!) and a new song that goes along with the story.

Now, of course, I won’t tell you the story, I want you all to buy the book and CD!

Posted by leon at 02:07 PM | Comments (0)

September 16, 2005

The Art of Preparation

One of my favorite musicians came to record at SCM studios the other night: songwriter and guitarist Kevin Browne. Kevin and I have been friends for a long time, and he is always a pleasure to work with.

Kevin has already recorded two CDs at SCM, and now he is starting his most ambitious project; actually two projects: He is recording a CD of new songs, and an album of instrumentals.

He came in at 6:30PM, and by the time he left at midnight, he had recorded:

1. Nine instrumental tracks- he laid down the guitar parts for these pieces (some of them approaching 10 minutes in length!) with the plan to add cello, violin, keyboard, and other parts later.
2. 11 guitar tracks for his new songs. He laid down basic acoustic guitar tracks for 11 songs (actually 13 songs since one “song was actually a 12-minute, three-song suite!)
3. He then recorded vocals for the entire CD of new songs, and did a vocal effect track for one of his instrumentals.

He was he able to do all this? He was prepared! He had spent the previous few weeks diligently rehearsing for this session, and so he was able to do most of the guitar tracks in one pass. He also did most of the vocals in this highly efficient one-take fashion.

His next step: when I create a rough mix CD (or CDs!) for him, he will review his work and decide what to keep and what could be improved.

I am always impressed by his dedication to his art, and by the wealth of musical and lyrical ideas that continue to pour forth from him.

Posted by leon at 01:21 PM | Comments (0)

September 01, 2005

Meditations

We haven’t forgotten about those of you who read “Project Studio Guy.” We’ve had a lot going on.

So what have we been working on? It’s funny how often we seem to work on two or three very similar projects at the same time. At one point several years ago, we were working with a number of R&B artists. Then we went through a “folk singer” stage.

Right now we seem to be going through the “Meditation Phase.” We are working on two projects that contain meditations of a spiritual or relaxing nature, with music backgrounds. In one case I am writing the music, in the other, I am arranging music already written by one of our musical family, Renelle West.

I’d like to tell you a bit about Renelle’s project.

What Renelle wanted to do was take two of her existing songs, plus one new one, and arrange them so that they would be performed a few times, and then segue into an instrumental section, over which the voice-over meditation was recorded.

A vibrant woman by the name of Paula Langguth Ryan came with Renelle to speak the meditations. Having recorded a great deal of voice over audio, I knew that the process could be tough, especially for the inexperienced. (Voice-over work is much more difficult than people realize. Just try talking or reading out loud for more than a few minutes without stumbling over your words, going back to clarify something you just said, or without using “uhhh” and “ummm.”)

Now Paula had over 15 minutes of text to record. She did it in one take! It was perfect (except for one place where she bumped into the music stand, but she was able to fix it in only two tries, and match exactly her tone and expression. No small feat!) Not only was she perfect on the first selection, she was perfect on two more extended meditations! Almost an hour of speaking, and no “slips of the tongue.” It was phenomenal.

Her natural abilities as a speaker had something to do with her great productivity, but of course, she was well prepared. As I tell all my clients, preparation is your best ally in saving a lot of valuable studio time.

Renelle West

Paula Langguth Ryan

Posted by leon at 12:44 PM | Comments (1)

August 03, 2005

Ruminations On Old LPs- Part 2

I’ve been thinking a little more about the old LPs. What gives them their unique sound? Some would say it was as simple as the difference between analogue and digital recording. Indeed there are musicians and producers today who swear by analogue tape, believing that the end result sounds “warmer.” That may be so, but since I’m more of a musician than an audiophile, I don’t care to enter into that debate. However, I believe the differences go far deeper than the mere choice of recording medium.

As I’ve mentioned before, most recordings of the 50’s and 60’s were produced with all the musicians recording at once, so the arrangements, usually done by professional, highly trained arrangers, were prepared in advance. The players, who were the best of the day, were well-rounded musicians: they could read music, and they could play with technical precision and great feeling and depth of interpretation. They played what was on the page, adding their own personal touches but never overwhelming the recording.

Space, Air and Breath

The music had “space”. Words tend to fail when attempting to describe the sound. It “breathed,” there was “air” between the notes. The listener was transported to the very room where the musicians were playing. The expertise, musical interplay, and empathy among the players could be sensed. The rise and fall of a good arrangement could be felt. The emotions were stirred.

Layer by Layer

I say all this not in order to decry the recordings of today, as there are exceptions to this “rule,” but by and large, pop music recordings made after the 1970’s have a different feel and sound. Recording techniques evolved. Musicians could keep adding parts to the record. Arrangements were built up layer by layer. The drum machine, with its potential to sound “robotic,” often replaced (or at least crowded to the side) the drummer.

The results could sometimes be exhilarating, but many times the sound became “airless” and stifling. With the additive nature of the new recording process, the arrangements were often not worked out beforehand. The tracks were built from the drums up, and frequently the temptation to fill up all of the aural space with multi-layered guitars and synthesizers became irresistible to many bands and producers. The result was countless “over produced” songs.

Punch Me In Again

In addition, producers and musicians now possessed the ability to correct mistakes via “punching in” or, as it is often done today, “comping” (where several takes are done, and the best parts from each are “comped” together; a process that is exceedingly easy to do in computer-based recording) This tended to give many recordings a sound that seemed “too perfect.” The overuse of pitch correction software on vocals added another layer of polish, and often resulted in a less human sounding end product. (Don’t get me started on pitch correction!).

In our work at SCM, we constantly strive to produce “natural” sounding recordings (unless that’s not what the artist wants!) We try to resist the temptation to fill in every space with sound (unless we’re going for that Phil Spector “Wall of Sound” effect) and we use the modern tools at our disposal (pitch correction, digital editing, etc.) with restraint.

I’m hoping that fans of the artists we’ve recorded and produced will end up listening to the recordings years from now, and saying, “They just don’t record them like that anymore!”

Posted by leon at 02:02 PM | Comments (1)

July 27, 2005

Why So Many Folks Like Old LPs

I’m working on a most interesting project, something I’ve never done before at SCM studio, although the technology has certainly been around for a while…I’m converting some old LPs into CDs for a client.

I had to purchase a new program to do this, and I also had to borrow a turntable! I’ve haven’t owned one in years.

It’s been a real treat to hear these old LPs. So far, I’ve listened to big band dance music, Guy Lombardo, Eddie Peabody (the master of the banjo) the Living Strings, and one cut so far from a Jackie Gleason LP (Yes, Jackie “to the moon, Alice” Gleason!) During the late 50’s and early 60’s Gleason put out a series of easy listening albums on the Capitol Label where he conducted an orchestra with a “double string section.” Needless to say, the resulting sound is very lush and romantic.

These LPs from the 50’s and 60’s have a certain sound that you just don’t hear these days. It has to do with the way they were recorded, with the sound of the “room” being a big part of the overall sound. Back when many of these LPs were recorded, the entire band or orchestra was set up in tracking room, with the mics placed in strategic locations. The reverb was provided by the room itself, recording levels were set by moving the mics around, (or having the musicians play louder or softer), and entire LPs were often recorded in two or three days, with everyone (including the lead singer) playing together.

Recording this way gave much of the music a sense of urgency, and an indication of the high level of expertise and musical empathy among the players. There was little chance to conceal errors using multiple overdubbing and “punching in.”

There’s more I’d like to say about this, so check back soon!

Posted by leon at 10:34 AM | Comments (0)

July 22, 2005

Lone Wolf No More

I used to be a “Lone Wolf” musically. I liked to do everything alone. Maybe this former preference had its root in my training as a classical pianist. After all, I would take lessons one-on-one with the teacher; practice alone (especially at college, where I would use a practice room and lock myself away from the rest of the world), perform alone, study new music alone, and ultimately compose music alone.

Alone In the Studio

When I started SCM studio in 1990 (then called the “S.O.L.O. Productions Studio”), I still worked alone. I used to produce accompaniment tracks for original songs, and by using MIDI and a bank of synths, along with my Atari 1040ST computer (!); I was able to produce these backing tracks all alone. I didn’t have the right equipment for recording vocals yet, so I very rarely had anyone in the studio with me.

There's People in Here With Me!

Around 1996, we added some ADATS (multi track digital recorders), and some new mics, and started doing entire recording projects in-house. Now I had actual people in the studio with me! I had to quickly learn how to make these musicians feel comfortable, and how to work on an arrangement with someone watching and / or helping me.

At first, I would ask the artist to let me work on their tracks alone, and have them listen to them when they were done. Well, not everyone wanted to work that way. Many artists wanted to be involved in the creative process right from the start. They wanted to collaborate.

Learning Musical "Give and Take"

I had to learn how to accept input on the musical direction that a track or an entire recording project was going to take. I had to learn how “bounce” ideas off of another musician or group of musicians, and how to deal with the ideas that they would try out on me. I had to learn how to accept valid criticism of my ideas (and throw away the ones that truly didn’t work!), and how to objectively evaluate the ideas from the artists.

Once I learned how to do these things well, guess what happened? The quality of my work (the arrangements, the performances, the mixes, everything!) took a dramatic leap upward! This is not to say that my work was bad before, it just lacked a certain “something.”

To this day, Sheryl and I encourage every artist who records with us to get involved in the creative process right from the start. We try to draw out of them every idea they might have about their songs, and how they want to present them. We have found that very few artists have absolutely no idea regarding how they want their songs to sound. Sometimes they may have trouble finding the right words or terms to express their ideas, but we have yet to fail in finding out what an artist really wants to hear. We take the time to listen.

Posted by leon at 11:32 AM | Comments (0)

July 05, 2005

He's Not Really Crazy

I hope you all had a great 4th of July. My ears are still ringing from all the fireworks.

I’m going into the studio today to edit and mix a project by a singer-songwriter who calls himself “Crazy Roy.” He’s not really crazy, but he sure writes interesting songs. They’re kind of “stream of consciousness” type songs. They have verses and choruses in a manner of speaking, but often in the verses, Roy dispenses with such niceties as rhyme schemes, or perfect phrasing. One never knows where his songs are going to end up.

He also uses an amazingly quirky guitar tuning, one that in all my years of recording and producing I’ve never encountered. I won’t tell you what it is, since I don’t want to give away his secret. It gives his guitar playing a very distinctive sound. There’s no way to describe it, you just have to hear it!

Needless to say, his songs won’t be played on a “hit” radio station any time soon, but in their own idiosyncratic way they are well worth listening to. I find great joy and fulfillment helping artists like Roy bring their music to life.

So I’ll be spending the day working on Roy’s music, and then this evening Sheryl and I are going to our monthly NSAI meeting (Nashville Songwriters Association International) in Orlando. Sheryl is the co-coordinator of our particular chapter.

I’ll have more on NSAI (and the value of songwriting groups) tomorrow.

By the way, I'll let you all know when Roy's CD comes out!

Check out what we can do for you...

http://www.solocreativemedia.com

Posted by leon at 11:20 AM | Comments (0)

May 18, 2005

Teaching in the Studio

As the owner of SCM (S.O.L.O. Creative Media, Inc.), I participate in a program called the “Brevard Career Shadowing Program.” (Cocoa, FL is part of Brevard County)

As their material about this program states:

“This program gives young people (their words, not mine…I call them “kids”) an opportunity to spend time in the workplace where they receive a first-hand look at what a ‘real’ job is like.”

I like the quotation marks they put wound the word “real.” A “real” job as opposed to what? A “fake” job?

Anyway, I hosted two young men who were interested in the recording process. Actually, they were both interested in starting bands, getting record deals and generally becoming famous. I had those same goals when I was their age. The fact that at the time I couldn’t sing or write songs didn’t discourage me a bit.

Actually, one of the students ending up recording one of his songs, so that he could get some first-time experience with the recording process. His song wasn’t bad, certainly a lot better than anything I tried to write when I was 17. Like most first time studio singers, he didn’t like the sound of his own voice, but I thought that with a little training, he could be a good singer.

As part of their day with me, they were supposed to ask questions about what I did in my studio. Since they weren’t asking, I decided to jump in and ask them, “Hey, you got any questions?” They proceeded to stare at the floor, as if the questions were written there. Finally one of them said, “It is hard?”

Is it hard?!

OK, short answer: no. Long answer: No, but sometimes yes; it depends on what aspect of project studio work you are referring to.

Dealing with the technical part of recording someone is not that hard. I’ve been working in recording studios since the Carter administration as a player and / or an engineer, so I’ve pretty much learned where to put mics, and how to press the right buttons and move the right faders. (I suspect that what he meant by his question; is it hard to run all this equipment?)

Dealing with difficult musicians can be hard, but over the years I’ve gotten better at it, and have developed a pretty deep well of patience. I could say a lot more about it, and probably will as we go along.

http://www.solocreativemedia.com

Posted by leon at 06:01 PM | Comments (1)

May 17, 2005

Allow Myself to Introduce Myself

That’s me. I’m the project studio guy!

I own and operate my recording studio here in Cocoa, FL.

I was a musician before I was a recording engineer, and now I do both.

I’ve arranged, recorded, and produced albums in every style of music except heavy metal.

My wife Sheryl and I have been working with musicians for over 15 years now. When I say “working with,” what am I talking about?

It’s hard to describe what we do in a few pithy sentences. I can start by saying “we have a recording studio.” You might be thinking “Great. You have a studio? 10,000 other guys have studios.”

We love making music in our studio; we love the whole recording process. The folks we’ve worked with range from accomplished performing songwriters who are looking to produce the next in a long line of professional and successful recordings, to absolute beginners who needed to learn that a full-length CD took more than a week to produce.

Let me start off by saying that we are both musicians. Sheryl is a guitarist and vocalist, and I (Leon) am a keyboard player. Sheryl is also a computer expert, and I…well, I can move a mouse pretty well. Our project studio is set up for ProTools based recording. And so are hundreds of other studios.

We’re musicians, we’re recording engineers, but what else?

Sometimes we end up being counselors: We’ve had artists pour out their life stories to us…tell us their dreams and hopes. We must be easy to talk to. They ask us what we think about their plans.

Sometimes we end up being coaches. Helping someone re-write a song, punch up a lyric, add a harmony part, form a marketing plan.

A few times we’ve even become arbitrators for disagreeing musicians. We’ve helped solve disagreements, reach productive compromises.

Overall, we are facilitators. We bring musical dreams to life.

I’ll be telling you about our day-to-day experiences working with would-be stars, crazy songwriters, and some true artists.

Stay tuned!

http://www.solocreativemedia.com

Posted by leon at 01:42 PM | Comments (1)