To CD or not to CD...

Whistle
1

For those of you who have recorded CDs, here’s a question: How did you know it was time to finally jump in and make a CD?

Background: When I play at various things - weddings, banquets and parties, etc., I often get asked “Do you have a CD available?” When I reply no, they say, “well you should!”

Now, I know that it’s that fact that the whistles are something different than they’ve heard, especially the low ones, so I could be playing anything, and the sound of the instruments would catch their ears. But, to my own analysis, my playing is intermediate at best. I mean, I couldn’t pull off some types of ornamentation, even if the Undisputed himself was standing over me, threatening me with a beating with a Sweetone if I didn’t show him some rolls and such. On the other hand, in my own genre, away from IrTrad and into Praise & Worship and New Age / Smooth Jazz, I do alright.

So, do I wait until my own assessment of my playing says that I’ve learned enough to let it out in public? Or do I record what I’m able to do to have something to sell / give at gigs?

Or do I blissfully record at my level, happy in my own little world of “what I does is what I does,” and change my name to “Kenny.” Gee! There’s a thought… :smiley:

(the above is intended as a futile stab at humor, and not to malign any working musician who is pulling down more $$ and gigs than I’ll ever see! :slight_smile: )

So, CD people - what pushed you over the edge to finally put out a CD or three? As Aragorn says to the Men of the Mountain, “What say you?” :laughing:

Thanks for the insights!

Cal

2

Even though I’m not Joanie Madden or Mary Bergin, me and my drummer made a CD to sell when we got the Texas Rennaisance Festival gig as a band last year. Having worked the faire solo, and having been out there probably every year for a couple decades, I knew CD’s was where the money was at. At faires at least, people don’t tip, because they are spending on souveniers they can take home.

It was a good decision..we made about 70% of our profits on CD sales. I’m not so sure we’d do as well selling CD’s at gigs, but I can’t say for sure, because I moved to dallas in the middle of that whole faire thing and so we never got the opportunity to sell CD’s during our regular gigs as a band afterwards.

3

Start with test recordings. These will give you something to assess as far as techincal readiness goes, but perhaps more importantly you should listen for what might need to be done as far as adding, mixing, or eliminating elements is concerned. A good recording will have good texture. This applies to both the simple and the multilayered.

IMHO, of course.

4

You are ready, Cal. If you lived closer to my area, I would offer the services of my studio. I love working with first-timers, and helping them to create a fine product.

I don’t think that what others say to you should be the arbiter of your readiness. If you have an interesting repertoire, running the gamut in tempo and mood changes, then you are half-way there.

Some important decisions will be in the duplicating arena, more than the recording. To go the glass master/pressing route can be very expensive. On the other hand, having a professionally ‘burned’ final product can be rather cost effective, as a first offering…

I would be honored to answer any direct questions you may have, either on or off-board.
Best.
Byll

5

If everybody waited till they were ready to record, some of the most vibrant rock music would never have been recorded. The Stooges, Sex Pistols, Ramones etc were not ready to record. In fact, most of them were never ready. If you’re ready to record, you’re overqualified for garage and punk.

One way to start is to get yourself a digital multitracker and just get started. If money is a problem, just buy one that has been recently superceded on special or secondhand and you’ll pick it up for next to nothing. The new versions will tend to differ from the old in ways that don’t matter to a newbie except that they are many times more expensive. Get a 16 track though, preferably with another 8 virtual tracks; you never have too many tracks you’ll find. Get yourself a couple of good condensor mics and off you go.

When you have something that sounds not too bad but just needs a bit of the ‘professional touch,’ send it off to someone good for final mastering. If they are honest, they’ll tell you if it isn’t quite good enough for what you want or if you need to hire a professional studio to rerecord certain parts. A lot of fully professional recordings start in the home studio these days and end up with just a few final touches added in a pro studio. It’s always been a bit like that; some of the early Stones hits feature Keith Richard overloading a cassette recorder with accoustic guitar.

6

as long as you can play a decent tune in time, then you’re ready. I don’t mind listening to a musician make the odd bum note, squeal or fumble, but as long as they can maintain tempo then I’m happy to listen. What I think gets on people’s goats is when they are listening to a recording or live performance and the have to constantly alter the tempo at which they are following along with, whether it be tapping their hand on their knee or whatever. The best recordings in my opinion are those that allow for human error and yes, a tiny bit of out-of-tempo-ness, unlike symphony orchestras that sound as though they may as well be all done on one of today’s synthesisers. As for maintaining tempo, well, that’s one of my weak points at the moment, but I tell you, recording yourself and listening to yourself does wonders for self-evaluation.

Cheers,

David Goldsworthy

7

Sounds to me like you care enough to make a really good CD…so make one. Go with your heart.

8

Hi,
Yes, buy a little digital home recorder and do it all yourself;
just sending out the final cd for mastering. That is what I have been doing
the last 2 years. I love it. Recording is very fun and it sure teaches
you a lot about instruments, music and the industry. Have fun with
it and get going.
Lolly :stuck_out_tongue:

9

Hi Lolly,

what sort of little digital recorder would that be that you’re using?

CHeers,

DavidG

10

I’m using a Boss/Roland BR1180. They have updated this unit from 2
years ago to a BR1600. We have a nice forum on Yahoo that answers
everyone’s questions on the unit, so all that buy can easily record.
The basic recording and mixing is simple enough for even a girl to
buy, plug-in, record and mix-down with. There are many brands
available out there for around $1000. All you’ll need is a mic and away
you go :laughing:
Lolly

11

My friend Lolly is correct in that the Boss BR1180 has a big brother, the BR1600. However, the 1180 will set you back the $1000, and the 1600 will add app. another $400 to the tag. Both units will perform more or less identically, the 1600 giving you a bit more sophistication, and a few more tracks…Tascam makes comparable units. IMHO, the best vendor is Sweetwater, followed (a distant second) by Musician’s Friend. My personal favorite unit for $1000 that should be considered, is the Yamaha AW16G. It gives you the sophisticaion and the 16 tracks, like the BR1600, at the price of the 1180. My studio is based on two of the 16G’s bigger brothers. Any of the above units are excellent stand-alone digital audio workstations. You cannot go wrong with any of them…

At current studio prices, purchasing a DAW and recording/mastering your own product is a viable alternative…Good luck with your endeavor.

Best to you,
Byll

12

Thanks everyone for the advice! I think 2005 will be the year for the recording project. I’ll probably use what I’m familiar with - we use Cool Edit Pro (now Adobe Audition) at work, so I’ll start with that. I already have some original tunes written, so it’s a matter of doing the arrangements to my liking, and picking some other songs to fill things out. I’ve got some hymns in mind to arrange, so I’ll start with that.

Have any of you ever had to deal with permissions to record songs? (I believe the term is Mechanical Licence…) I know of a couple of existing songs that I’d like to use my arrangement of, but haven’t worked through that end of it. Or, have you stuck with things in public domain, to avoid that sort of issue?

Again, thanks for the “shot-in-the-arm” to get going with the project. :smiley:

Cal

13

The Agency that liscenses most mechanical rights’ endeavors is the Harry Fox Agency, in New York. They will give you a flat rate for the music you wish to record, based on the number of copies you will duplicate for sale. Some composers are not handled by Harry Fox. Those people must be contacted, directly. I have never been refused the right to record another composer’s music. There are some really neat people, out there.

If you completely exhaust all possibilities to find the composer of a desired tune, place app. $100/1000 copies in a titled and dated escrow account, in case the composer finds you in the future.

Best to you.
Byll