I wasn’t sure if after working very hard on a number of musical projects this year I would actually have any new completed CD’s this to speak of. But at least there will be one, as I recently finished Elika Mahony’s new CD, Fire And Gold which I will talk about in a later post when it is released.
(I haven’t linked to her site as it isn’t working yet.)

When I am completing an album, I become somewhat obsessed with making sure it sounds as good as possible within a reasonable time frame, and since I am not only producing, but mixing, engineering and mastering, there is no shortage of things that need to be monitored in that last chance to make final changes.
Many correctly argue that a producer or engineer should never master a CD, but so many projects I have worked on have been ruined by improper mastering, I often end up doing it myself, at the request of artists that trust me more than anyone else, because of how important the music becomes to me after spending so much time composing for, producing and mixing. I am still searching for the right mastering engineer.

There are so many things that can go wrong at the final stages, just mixing so that everything sounds great on ANY stereo system is a challenge on it’s own even when you’ve been doing it for over 17 years.
I’ll leave the technical details to that to keep things from getting boring here… I get into some of the pre mixing issues that can come up in this post.
I start to obsess about little things in the music when it’s my last chance to make changes, in my attempt to make sure everything is perfect. Of course it never is, but the majority of listeners will never know.
It may seem overly revealing for a professional to divulge that, but any producer who says their music is indeed perfect is a liar, because I hear the problems and mistakes in their music that no one else does, and that’s ok. But I do find it shocking that famous producers with 10 times the budget that I have for a production would release music with major oversights like out of tune notes and piercing frequencies. So that makes me feel a little better about any issues that escape me (and I emphasize the word little, as I said, I get obsessed)

Then again, you could argue that if someone is going to listen to the music at one tenth of the resolution as an mp3 with ear bud headphones coming from a mini jack, the worst quality audio connector on the planet, what is the point? But this is a blog not an essay, so we’ll leave it at ‘because otherwise I couldn’t live with it’

Most people have no idea how much is involved in producing music, and that includes the artists and musicians themselves. That’s right, most professional artists don’t really realize what goes on behind the scenes in producing their music. They leave it up to a professional like myself, a producer (if they want it done right).
The idea of sculpting a bass sound on repeat for 4 hours is just beyond their comprehension, but that is the kind of thing that goes on amongst mixing together many competing elements so it all blends perfectly.

Today was an example of that in recording the last of the Cello parts for Elika Mahony’s album which will be completed this month. I’ll tell you more about that 3 year project soon.
It was very cool to hear someone play something I composed on keyboard on the cello, but professional players aren’t fond of working with non professional composers (ie: composers that don’t write out scores for performers to play). Even though I had the parts professionally scored, the timing didn’t match up with the parts I composed because the piano wasn’t played strictly with a metronome. This means that when the parts are scored, it is very difficult to figure out the beats and bars. There are ways around this but they require a lot of work like creating tempo maps which I won’t get into now.

Basically what it comes down to is that since artists don’t know what’s involved with these kinds of production details, it is hard for them to know how to prepare for them. Generally, if you want to add any instrumentation, music needs to be played perfectly to a click when it is first started, if it isn’t, it will require a lot more time and money.

It’s all part of the many intricacies of professional music production. It’s hard to believe how much goes into a song sometimes, even for myself. But when it’s done right, it sure sounds amazing. It can capture the heart and stir your very soul.

I have been consulting a great deal with people and the artists I work with about the massive changes in the music industry lately. It is long overdue that I make an official blog post about it.
But how do you sum up what equates to declaring the death of gravity to a physicist in a short blog entry? It’s a challenge, however, now we know enough to confidently make some bold statements about where the music industry is going and I will very briefly summarize them here:

• The music industry is moving away from corporations and back to the artist/musician where it should be (this is a very good thing for you, the artist, but more rights and control means more work and responsibility)
• Giving music away for free and digital downloading doesn’t hurt music sales, it is in fact the only way music is purchased, and essentially has been for a long time. (The myth that downloading is hurting sales is propaganda that corporations have spread in attempt to retain control they are losing over the music industry – see first point)
• Music as an emotional commodity has become about building and selling relationships, NOT selling a product. Build a strong following and fans will support you in all your efforts. This will soon become a philosophy for all business in the near future in my opinion.
• The Internet now fully into it’s web 2.0 phase is the way that artists can independently build a strong business without corporations or other companies due to it’s many resources. (This is covered in detail in Andrew Dubbers’ free eBook which I blogged about here, and links to some of these can be found in my blogroll/links page
• Blogging and social networking is one of the most important ways to accomplish the above and embrace the new music industry and start building your audience.

So these are some pretty drastic changes, I mean, telling artists they need to give their music away in order to sell it when they have been told that is stealing and will cost them sales? Well, I have started to do it myself as mentioned here, and many professionals, industry experts and artists have proven these points to not only be true, but very successful, artists like Jonathan Coultan. He may not be famous enough for you to know him, but he’s an independent artist making a living from his music using these very techniques. There are articles about it all over the internet. Major artists like radiohead have been starting to make changes as well, selling their music by donation, and a lot of people not only think they’re crazy, fellow artists think they are ruining the music industry. But those people haven’t studied the proven facts about where music is going.

I have been researching this for some time now, particularly for a course I teach at a local college as part of the full time music program. I also offer artists consulting on effectively using these techniques. I don’t have all the answers because no one does yet, things are still changing and progressing. But I can see where things are going, and it is a good thing.

There’s no alibi
‘Cause I’ve drawn regret
From the truth
Of a thousand lies

So let mercy come
And wash away…

What I’ve done
I’ll face myself
To cross out what I’ve become
Erase myself
And let go of what I’ve done

Put to rest
What you thought of me
While I clean this slate
With the hands
Of uncertainty

So let mercy come
And wash away…

What I’ve done
I’ll face myself
To cross out what I’ve become
Erase myself
And let go of what I’ve done

I’ll start again
And whatever pain may come
Today this ends
I’m forgiving what I’ve done

– Linkin Park , “What I’ve Done” from Minutes To Midnight

Yes…. Exactly.

In 2004, I produced a CD called Past Becomes Future, released on Pro Soul. It’s a compilation of various artists that is basically a celebration of dance / electronica / R & B through modern versions of classic pop songs from the 70’s and 80’s.
[audio: https://jarome.com/files/downloads/audio_files/files/Starlight_Lucky_Star_mix.mp3]

The latest track I have produced, ‘Starlight’ is a combination of retro Madonna and the kind of Hip Hop you remember, back when it was great. It was conceived for a live show after the album was released, but the chorus vocals were never recorded. I started by recording and editing together various 12″ vinyl remix records, and then had Luvva J aka Jose S. Gutierrez Jr. put down an original rap on it. Then I punched it up with some additional beats and synth. I always liked the track and what Jose did with it , so recently, I decided to remix it and have Laura Harley record the missing vocals. She did an amazing job, and we decided to put it out there for you to listen to as a free download.

www.jarome.com/downloads

This song is special for a few reasons, 1: It is basically the first, but not last, free song I have put out there, 2: It is not attached to any particular project – Those that know me know I very rarely do songs like this that are just for fun because I am so busy producing other artists songs, and 3: It is very different than anything I am producing now, and it is different than the usual style of the artists featured on it.

I hope you enjoy it! Tell your friends, and let me know what you think.