Deep Inside 'The Red Light District' by Chris Mara - All Comments

re: Bands- Give Me A Break!

pumarolo — Sat, 01 Mar 2008 17:15:46 GMT

Chris

I agree with the hype of bands taking it like you described it. A tour is only when it's already booked and organized.....yes organized as well.....how do you drive to your venue what do you eat on the way there...how do you haul your equipment....what do you bring with you on the road...where do you stay after the show...and so on and on... the "help book/TBA" is what the article is talking about...I agree..

On the Studio thing...my view is that you're right...they don't compare with each other....but at the end isn't it important what comes out of the recording can? If you do it yourself or you hire a proffessional, it always counts what comes out what you record. I agree that I can't claim being in a studio when the matter of fact you are taping RECORD on your 15 year old tape recorder.

Chris there are a lot of "proffessionals" that you can hire that educated themselves and know more or less than someone who is not a proffessional and educated himself.....what counts is the experience and your gear....I guess you wouldn't even think about to do a recording on 4-track recorder anymore right? and you wouldn't use a microphone that came with your kid's karaoke system either....There I agree with your "check out our new studio recordings" of laptop demos.....That shouldn't be hyped but even a common person that just browses their sites can tell what is made with proffessional equipment and what not....

But don't forget.....Today you can buy a computer, buy a recording software with a lot of plug-ins.....read on the internet "how to record....", buy some essential gear.....and you are already a "Music-Producer".....Aren't those the slogans you read in recording related magazines?Rolling Stone Magazine? And many otheres? Hell I even read one add in the SKYMALL mag. on the airplane the other day....buy a guitar with UBS that connects your computer and you are ready to record your music proffessionally.....

What I am saying is that maybe the whole industry has its footprint in the HYPE as well...as long we are fed with this commercial advertisment aren't the kids made believe in their own hype?

Chris I am afraid it's not going to be like 20 or 30 years ago....where you had really talented bands that did what they did best....supported by Music proffessionals...with proffessional recording engineers and gear and where you still had to slice and tape instead of "cut and paste", where you had really talented singers that didn't need autotune to sound human and on key...where long term vision was a top priority vs. the one hit wonder vision.......The recording industry has set their priorities in short term gains vs. the long term and no wonder we are buying less CD's or downloads from new artists....Myself I bought two Local bands CD's vs. downloads of top 40 bands...

Anyway I went a little bit in a different issue here but all I was to say is that the kids that are hyped or hype themself are the same kids that are fed by the music industry with cheap gear....and one hit wonders...I guess....

re: Bands- Give Me A Break!

cjmnash — Fri, 22 Feb 2008 20:59:28 GMT

dave-

thanks for taking the time to comment so thoughtfully. i agree with all of the original authors points in varying degrees- one common thread on all of them that struck a chord with me though, was the potential for one bands' hype can actually diminish another bands' hard earned bragging rights. for instance- if i spam all over about my "tour" - that may take away from another bands' actual TOUR. same goes with the studio stuff. how would you feel to see your myspace invite bumped down because of 1,143 bands inviting people to "help book/TBA" stuff? or your blog about the hard work you did during your church recording overshadowed by a ton of "check out our new studio recordings" of laptop microphone demos? hell, i'm just one guy, and i wade through tons of emails about "tours" and "new studio recordings" - and when i'm not in the mood to sort through hype vs. fact...i just delete the email. what if i were to be some burned-friday-afternoon-publicist and delete your press release about something that was actually press worthy? its kind of a karma thing to me i guess.

now- to touch on the U2 and BSSM, and the out-of-studio recording things you mentioned: those hardly compare to what the author was talking about. if you are in your room on one mic messing around on some stuff-great. if you pay professionals to record an album for release- great. are they the same thing? should they deserve the same hype? not in my (and the original authors) opinion.

does that give you some insight on how i view it?

thanks again- i always enjoy the fact that you take the time to comment.

-chris

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re: Bands- Give Me A Break!

pumarolo — Sun, 20 Jan 2008 00:32:55 GMT

Hi Chris

Long time we haven't heard from each other. Which points do you share with with this article?

In my opinion I have to agree on some points he made but not all of his points are valid (in my opinion) but let's go through them one by one

Pimping up the web site: I agree. It's like a resume when you go to a job interview. Never ever put something on your resume that is not true. It can hurt you badly if people find out that things are not true, not only that, but your reputation and credability will suffer. And trust me nobody wants to work with bullshitter!

Tour

I agree 100%

Show

I repsectly have to disagree......also a Joe schmo band can put a show up at their club or bar date, if something is put up for the eyes, let's say you brought your own lightshow, or backdrops, or you do an act while perforing....hence you are showing your emotions and feelings accompanied by the music.

It doesn't have to come only from the Boss or from Pink Floyd.

Review

100% agreed.

"In the Studio"

I have to disagree somewhat. When we go to the studio it means we go into a place we can record, where you have the same conditions and maybe also the same gear.

Yes I agree, there is a lot of gear that is cheaper nowadays and that a lot of hobby musicians are doing the do it yourself recording in their bedroom. Yes I agree if it;s that then I wouldn't call my bedroom a recording studio just due to the fact that you don't have the same conditions. But where I disagree is that like us we recorded in the basement of a church, where we recorded drums and bass for our upcoming EP. Also on my blog I defined it a couple of times as a Studio. The Studio is just not a place but more then that it is also an enviroment that you can create....Don't you work out side of your studio as well? with your mobile studio? So just because a record is self made and not done in a real studio it doesn't mean you haven't been in "a" studio.......

U2's Unforgettable Fire was recorded in a castle with a mobile studio........just for an example.... RED HOT CHILLIS well known Magic album was recorded and created in a HOUSE! And I am 100% sure back then you could have read that in the Rolling Stone Magazine in "In the Studio" section.

Greatings from a frozen Minneapolis

Dave OCEANS

re: Make The Connection.

Inazone — Tue, 15 May 2007 14:40:37 GMT

In the past, I fell into that category of musicians who cared about tone up until it came time to record. It always seemed like the moment I set foot in a studio, some magical, mysterious piece of equipment should make my "perfect" live tone translate exactly as I imagined it into the final mix. There were so many factors that I wasn't taking into account - mics, mic preamps, room acoustics, etc. - that when the recorded product didn't sound the way I was expecting, I was pretty frustrated.

This time around, I pieced together a recording rig (gotta love the bargains on all the guitar rack gear that stopped being "cool" 10+ years ago) and spent a lot of time dialing in the recorded tone that sounded best. It makes everything a lot easier when the record button gets pressed. Sure, there is still plenty of work to be done later in the process, but it sure makes the mixing process less frustrating (dare I say, enjoyable?) when things sound good from the start.

re: Make The Connection.

cjmnash — Sat, 12 May 2007 02:22:47 GMT

hey dave-

thanks for the comment and compliment. one correction though- i actually have a reduced day rate (10-14hrs) that i offer for independent (self-financed) bands. i do this to combat the very valid issues you brought up regarding clock-watching. another nice thing about a day rate is i can give bands budgets that include pre-production, tracking, mixing and mastering and end up at or under budget, with careful planning. self financed bands can't go back to a label for more $$ if things don't go the way they planned! a lot of the studios i work at in minneapolis offer the same helpful day rate, fyi.

trust me...i understand bands that are trying to get quality on a budget..that's what i do for a living. (and I have a family, and the bills that go along with it too!) i prefer to view bands as very empowered with the resources of 3-5 people to pool towards a common goal.

i think what it boils down to is figuring out where your band is career-wise; and what you expect your recording to do for you, which i touched on in the article. most bands need to get something out of their recording, some new gigs, press, reviews, etc. poor quality recordings typically don't stand out from the crowd enough to achieve these goals.

a lot of the artists i work with use me (and studios) when the need to, often for tracking and mixing/mastering, and do the "more simple" overdubs on their home recording setups.

think about it: 2-3 days of studio and engineer rates doesn't even scratch the surface in comparison to the cost of the equipment (and benefit of knowledge) that you'll have access to in a pro studio.

your record will sound better- and not break the bank in the process on studio time or home recording equipment.

i spend a ton of time on the phone helping bands figure out the next logical step for them, and encourage anyone who's wading through a sea of options to get in touch with me, or someone like me. so why re-invent the wheel? guys who've been in the industry a while have seen many, many different scenarios played out; and are a valuable source for some insight. believe it or not, we're here to help you make the best record possible.

thanks again,

chris mara

(615) 476-6272

re: Make The Connection.

pumarolo — Fri, 11 May 2007 19:00:45 GMT

Another great post Chris

I believe the music industry is changing or has changed. Equipment, technology is changing and it’s easier now these days to capture that David Gilmore, Angus Young, and god knows all of them, tone. Amp modulars are inexpensive to get compared to their rigs, and yes you are right also a lot of the recording gear is getting cheaper to get.

In another point you are right as well…which is that anybody who buys or owns recording gear call themselves engineers and “know it all” how to capture and record music, me included. Although I use my home recording gear to capture demo’s of my songs I write, and it’s an essential tool to my song writing. But some make the discovery that they can’t achieve the sound of the big bands, everything sounds mashed, thin, too loud at times or too hard to listen.

I believe though that a 15 or 20 year experience as an engineer is irreplaceable and most “home studio owners” forget about this very important fact. And that’s where you have to come in and make the difference. As everybody wants to get paid, you have to almost work your heart out and offer some packages. As I know you charge an hourly rate and Studios here in the Cities (not all of them) charge hourly rates. Most musicians then start to count the hours, and that is not good. When a band goes into a studio to record they need to be free of time pressure….there is this guitar player who f’s up a solo after an another and he thinks ok let’s try again and again and again until he says: man I spent an hour on a 15 second guitar solo? This is my opinion if you want the business of a local band you need to offer them the whole package, which means from prerecording meetings to tracking, mixing, mastering and yes if you can play the role of a producer, all in one price!. Present them the whole figure and they will go ok we can afford that or not…

I said before the industry is changing, the WWW is playing a major role, Itunes, Myspace and other sites are the plat forms where independent bands and local bands are getting exposure. Everything needs to fit their wallets as well, since there is no label that “loans” a significant amount of money to a “nobody band”, and ultimately money plays a big factor of every band from the local to the major label signed band.

Most local bands are working day jobs and their philosophy is how cheap can we get top quality, even if this means being a gineaua pig like you mentioned on your blog. And I believe this is the part you don’t get.

What I am trying to say is that the money is not there. A local band that plays occasionally original songs will make only some money or not at all…..which this means the funds are coming from each individual musician and like it is in every household, you go with the red pencil and ask your self where can we cut costs? The meaning of a demo is not the same like 20 years ago when I recorded my first demo. Nowadays you record cheap and place it on Myspace and there you have your product that can get you gigs. But there is the other more successful band that plays 3 to 4 shows a week and see some money and guess where that money goes? Rent for rehearsal space and all that gear you mentioned on the initial part of your blog.

And money is important, there is money to be made, cover bands get a lot of it and those bands are run like businesses, if you’re signed you’re mostly covered with recording expenses, and the third one the “unsigned band” will be a hobby band and until they don’t meet the first two criteria’s you most likely are going to go with the “cheap” recording variation….

Greetings from Mpls.

Oceans Dave

re: Rejection.

cjmnash — Thu, 17 Aug 2006 16:10:18 GMT

glad i could help, your comment really made my day...like i made a difference or something!!
we all go throught the "f*ck this sh*t" phase every now and then, it's just part of the gig i guess.
don't hang it up, ok?

chris mara
<a href="http://www.chrismara.com">www.chrismara.com</a>
<a href="http://www.myspace.com/chrismara">www.myspace.com/chrismara</a>

re: Rejection.

darbleysvt — Sat, 12 Aug 2006 21:16:24 GMT

You have some very insightful points here. I recently quit a band that I'd been a part of for over two years, and even though the main point of the band was to have "fun" and write some tunes and play the occasional gig, it just wasn't fulfilling enough. It really was tough to deal with the fact that if you only try to play four or five gigs a year that there were very few bars in town that wouldn't reject you, and nobody would hear your material enough to get familiar with it. I've been really down on the local music scene, but looking at it now it was just a fact of not wanting to analyze why we weren't going anywhere.

I was all ready to hang up the bass and sell of most of my gear, but I'm now thinking maybe I should pick it back up and start a new band and start taking the rejection positvely. Thanks for the pick-me-up!

re: So What Does A Producer Do?

Scobbs — Tue, 25 Jul 2006 19:23:32 GMT

This article is worth the read folks. Pretty insightful.

re: So What Does A Producer Do?

cjmnash — Tue, 25 Jul 2006 18:18:10 GMT

That's a common misconception. Occasionally high-profile producers will capitalize on their relationships with label execs and do low-risk 'spec' deals with artists in order to increase their (the producer) back end money on the album. however; this is not the primary role of a producer. he/she is responsible for keeping the project on budget, not to be confused with actually supplying the budget dollars. often times you'll see a credit in the album liner for 'executive producer'. sometimes this refers to people that have helped in financing the recording, but it can mean a host of other things as well.

hope this helps- thanks for reading, and for taking the time to comment!

chris mara

re: So What Does A Producer Do?

drumdrum — Sun, 23 Jul 2006 18:48:29 GMT

I thought a producer was actually more of a "money man" than anything. He/she sponsors your recording, or in the case of a major label, makes sure the major label gets its money's worth. This means that he/she is very concerned about whether you sound like "ass" or not.

re: Poor Me?

edaudio — Sat, 08 Jul 2006 01:50:41 GMT

Right on, Chris!

You're on the money, the green, the cabbage, dinero, etc.

Now it's time to talk about drummers!

eddie ciletti

re: Poor Me?

erict — Tue, 13 Jun 2006 06:34:02 GMT

I talk about this daily in classes I teach at IPR, and at A440. Sum it up. Where are your priorities?

Eric

re: Poor Me?

pumarolo — Tue, 13 Jun 2006 03:35:45 GMT

Wow, what can I say...I think you hit the nail right on the head!
What fast food are you talking? it's more on drugs and alcohol that they piss away. They never will give that up.

So many bands can't think out side of the box.
They don't want to invest, yes I say it again, invest in their future. They will play in stinky shitty clubs all of their lives. Then you can ask yourself again are these the same people that went the cheap way to record their demo tape? My question to them would be what can you afford? Can you afford to not playing the bigger venues, can you afford not to have the large exposure, can you afford not being the next best thing?? all of this because you are poor and don't want to invest in your future??

But well that's me.

Dave