Music Submissions and Demo Recordings

“Hey Jim, when I send you my music demo recordings, how evolved does the recording need to be?”

music-submissionWell, when I receive Music Submissions, I personally prefer the acoustic guitar or piano version of the song. This way I can hear the vocals, melody, chord structure and song arrangement. Then we can talk about the direction of the production.

A cell phone recording is fine with me for this purpose. It’s fine when bands or artists make their own multi-track recording, but that usually takes weeks longer to put together.

The other issue with multi-track demo solicitation is, you may get married to the demo. This can be both good and bad. Good if you created something awesome and we can use it. Bad if you created something not awesome and you can’t hear the song any other way.

Another reason I prefer a basic version is, you brought it to me so we can take your idea to the next level. The next level sonically and artistically. We will best achieve this from the ground up. If I am producing your project from tracking to Mixing, I am going to use the best recording equipment available e.g. Microphones, pre-amps, outboard gear and recording software. This will insure your idea reaches maximum sonic level.

As a Music Producer, I prefer to start with the song idea at it’s most basic level. The melody, chord progression and lyrics need to stand on their own. Let’s get this nailed down in pre production and then build the song out from there. I might have some ideas that you haven’t considered and you might have some ideas that we need to explore.
My experience will guide us through this process in a productive and efficient manner.

Other times a more established band will have recorded tracks for a demo with the intent to turn it into a master. We will have discussed this in preproduction and we would re-cut any tracks that are not sonically relevant. Again, we would have established the musical direction before I accepted the project.

Hope this helps, Jim Ebert

Mic Preamp – Why Quality Matters

api-512c-mic-preampMic Pre Mojo

If you have an M box, a mixer, an iPhone or anything you can plug a microphone into, you have a microphone preamplifier AKA Mic Preamp. You may not see it or even know that it’s there, but it is.

I am a Microphone Preamplifier lunatic. If I’m producing a recording, I insist on using a studio with the quality of mic preamps that I use for my productions. It is that important!

Some might naively say “But Jim, a mic pre can’t possibly make that big of a difference”. To which I would reply “Oh contraire mon frère, an audio chain is only as strong as it’s weakest link.”

If the 1st thing your microphone hits is a substandard mic preamp, you are battling uphill from there. If you’er recording dozens of tracks (as I normally do), the sound will seem much less vital and clear with a cheaper mic preamp. You may not notice the lack of quality as much when you’er recording a single track, but when you multiply the lesser quality with many tracks, the difference will be quite apparent. It takes a quality mic preamp to help capture the true sonic properties that make a voice or instrument sound clear and present in the mix. Without quality mic preamps, you get little clarity and a lot of mush.

Much like plugging your guitar into a cheaper amp or a good amp, you can hear the difference. Like guitar amps, mic preamps have different sound qualities according to make and model. So saying which mic preamp is the best is a matter of taste and opinion.

One of the big problems with mic preamps is of course their cost. Ranging from about $800 to $5000 for a single mic pre, the typical home recording user (usually) isn’t going to buy 20 quality mic preamps. But a good studio will!

People ask me all the time, why records sound the way they do. Well, Great songs, great performances, great Production and engineering, great gear and Great Mic Preamps!

What I Recommend:
If you are recording at home and are serious about your sound quality, I would create a quality single chain by purchasing the following:

api-512c single-channel • One – API 512 mic preamp $800

• One – Empirical Labs Distressor (compressor) $1200. el8-distressor

Not cheap I know, but for 2 k you would have the same channel found in many professional recording studios and the sound to match.

That’s it for now, Good luck. Jim