If I was stuck in a studio on a desert island, and could only choose one compressor to bring with me, I’d grab a Distressor. The Distressor is without question the most verstile compressor on the market. If you walk into any professional recording studio in Nashville, or around the world, you’re bound to find at least one of these pieces in the room. If you drop by The Record Shop, you’ll find four of them. Why, you might ask? One, because its a bad mama jama. Two, because it adds a classic sound to digital recordings. Three, because we work on such a wide range of projects, we are often going after a different “sonic vibe” from song to song. The Distressor gives us the ability to shape the sound to fit the song. In this segment of “Behind The Gear” we’ll discuss how we utilize the Distressor here at The Record Shop, and offer some tips for using it on your own. So where did this magical piece of studio gold come from? Read on…..
Empirican History EL8X
The Distressor was developed in 1995 by Dave Derr. Dave started Empirical Labs as a recording studio and electronics consulting firm. He was also part of the design team at Eventide that created the H3000, a legendary effects processor. It’s clear that this experience played a big role in the innovation of functions on the Distressor. Simply put, Dave took the best features from a number of classic studio compressors, added modern functionality, and ease of use, while maintaing a “vintage” tone. As The Empirical Labs motto says, “We want to make products that work a little easier, a little better, and a lot longer – and make sure they are fun to use.” I think they’ve hit their mark.
-If you are interested in learning about the history of the Distressor and Empirical labs, check out this article at Mercenary Audio. The guys have a great story about how they helped Dave name the Distressor-
Vintage Features
Back in 1997, Mix columnist Paul White said this about the Distressor, “If you’re one of those people who believe only tube technology can deliver the true classic sound, a few minutes spent using the Distressor might cause you to re-think your position.” While digital recording technology continues to improve, we still turn to analog gear for its “musical response” and “warmth.” Usually, the word “warmth” refers result of tube saturation that creates a round, full sound. However, in the case of The Distressor, warmth is more like an adjective. Here are some of the features that make the Distressor so unique.
–Distortion Modes
The Distressor has two distortion modes that emit a warm, harmonic distortion to the audio signal. The Dist 2 mode enhances the second harmonics, similiar to the saturation of a Class A Tube. The Dist 3 mode features a third harmonic that has the qualities of a Class B tube, or analog tape machine. We often use the Distressor for these modes alone. By setting the ratio to 1:1, you can process the sound using these settings without compressing the signal.
-Detector Modes
The Distressor also features two audio modes that vary the response of the device. The first detector mode is the High Pass Filter mode (HP). In the HP mode the Distressor does not react to low frequency energy in the sound source. This keeps the Distressor from reacting irrationally to a sudden rise in low end, such as a “b” or “p” sound from a vocalist. The second detector mode, called the “band emphasis” mode, makes the compressor react more drastically to harsh sounds in the high-mid frequency range. This mode can be useful on a vocalist that has a piercing tone to their voice on high notes, or to offer an smooth “analog” texture to an instrument.
Settings
Another unique design feature of the Distressor is the Ratios and Curves. Compressors generally have seperate threashold and ratio controls. The threashold sets the volume level at which the compressor starts to work, while the ratio determines how drastically it reacts. In the case of the Distressor, the threshold has been strategically determined within the ratio that is selected. The Distressor has eight ratio options to choose from. Each setting provides a unique response to the signal, exhibiting a musically pleasing effect on everything from subtle compression to dynamic destruction.
-For more detailed information on the Ratio settings of the Distressor, check out the Empirical Labs website here….-
How We Use It
At The Record Shop, we use our Distressors mainly on Vocals, Drums, Guitars, and anything that calls for a “classic” or “gritty” vibe. We love the “Nuke” mode, a setting that makes the distressor act as a “brick wall” limiter, with a unique release slope. This setting is great for big room sounds. We also make use of an option called “Brit Mode” that simulates the effect of the classic 1176 Limiter set to “all buttons in.” (a setting that became popular in 70’s for aggressive drum compression.) The Distortion modes are an invaluable assest to the Distressor and can be heard on nearly every recording that comes out of The Record Shop. The most useful feature of the Distressor is its overall tonal cahrecteristics. It is a great option for anything that needs to be smoothed out, warmed up, or given some edge. If you would like to hear more examples of how we utilize the Distressor, leave us a comment and we’ll send you our favorite settings.
Check back next week for our next installment of “Behind The Gear at The Record Shop”, highlighting the legendary 1176 Limiter. In the meantime, feel free to drop by our Gear Page for more information on our vast array of equipment.
As always, we love to hear feedback on our articles. If this was helpful, or a complete waste of your time, let us know! We love making new friends as well. Feel free to drop by our page on Facebook and sign up for our monthly newsletter to receive valuable resources and updates on the studio. Thanks for dropping by For The Record. Catch you next week!
-Giovanni
Therecordshopnashville.com
A Guide to Promoting Your Own Music
As a musician starting out, getting noticed is perhaps one of the most difficult things to do. The internet has meant that the number of budding musicians has increased drastically. While much of what works for marketing your melodies you will learn through trial-and-error, this guide to promoting your own music will hopefully help speed up the process.
Promote only your best material
The first tip in this guide to promoting your own music is never to promote a track that is not your best work. This is particularly important when you are starting out, since you still do not have a reputation to protect. Make sure your first track is perfected before you make it public as people are going to form an opinion on your musical talents based on it. Before going around promoting your music, you should get feedback, either on Soundout or from experts you already know from the world of music.
Market your tracks to people who will like it
Bringing your best music out is one thing, targeting the right audience is another. No guide to promoting your own music is complete without advising budding musicians to figure out the exact group of people the music is meant for. Age, gender, community or even beliefs could be important distinguishing factors. It is always easiest to try promoting your music to your target audience first. Once it becomes famous enough, others will surely rush to hear it as well.
Network along the way
While it is possible to become famous through the internet with virtually no contacts in the music industry, knowing people will certainly improve the likelihood of people listening to your tunes. You should try networking as much as you can so that you can get to know some of the top music producers in your area. These are the only people who can help you make it. Buying their tracks and interacting with them on Twitter might be a great way to start. It might take a while, but the benefits make it worth it.
Taylor Guitars- NAMM 2013
We had the great pleasure of working with Taylor Guitars to produce a series of videos covering their new product line and all of the amazing performances that took place on the Taylor Stage at NAMM 2013. Check it out!!!!
Taylor Guitars NAMM 2013
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WARNING: Every Musician’s Digital Performance Royalties Are At Risk
We recently came across this alarming article regarding the future of digital performance royalties. Producers and artists in all levels of the industry should take notice of this developing situation. Let’s do our part to put a stop to the diminishing value of our intellectual property.
The Recording Academy- “It has come to our attention that satellite broadcaster Sirius/XM is seeking to bypass the standard system of paying royalties. If they are allowed to do so, it will likely result in substantially reduced payments to artists and producers, a lowering of the value of performance royalties, and unnecessary conflict between artists and their labels.
What’s the issue:
Currently, satellite radio pays sound recording performance royalties to the nonprofit collective SoundExchange, which in turn pays 50% to the artists on the recording and 50% to the copyright owner (usually a record label). SoundExchange pays the artists the full 50%, even if the artist has unrecouped royalty balances, and also pays producers their share as directed by the artist. The system has resulted in an important new income stream for creators.
Sirius is now seeking to use the option of direct licensing with certain independent labels instead of using the system created by Congress that ensures fair payment to all parties. Artists should be concerned about direct licensing; 100% of the royalties would be paid to the record label which in turn may pay artists at a lower rate, subject to recoupment. And labels should be concerned as well; the lower rate being offered could have the effect of lowering the value of performance royalties to all parties.
What you can do:
If you are an artist signed to the independent label…
You can call your label today and request that it not direct license your recordings. In the interest of fairness and transparency, your label should continue to license through SoundExchange.
If you own or manage an independent label…
It is in your interest to refrain from direct licensing. While Sirius may be offering positive terms, the long-term effect of accepting a rate lower than the compulsory rate could be to reduce rates overall in the future. Creating downward pressure on the value of music may be good for Sirius/XM, but it’s bad for artists and labels. Please see the following statement from the American Association of Independent Music: https://a2im.org/2011/08/09/statutory-rates-versus-direct-licenses-for-digital-music-streaming/
Nashville Music Industry Interveiw Series and Free Studio Time!
The Record Shop is starting a new music industry interview series next month called “For The Record”, with our friends at The Funky Umbrella. The show will feature interviews with many of Nashville’s leaders in the industry. Each episode will feature a viewer question from our friends on Facebook. If your question is chosen you will receive a free day of studio time at The Record Shop. Tell us what you would like to know from:
Orville Almon: Entertainment Lawyer
Pat McMakin: Director of Operations at Ocean Way
Bob Bullock: Mixing Engineer
Anastasia Brown: Music Supervisor
Charlie Pennachio: Artist Development
https://www.facebook.com/nashvillerecordingstudio
Behind The Gear at The Record Shop Part 3: Tube Tech CL1B
In part 3 of Behind the Gear at The Record Shop, we take a look at the Tube-Tech CL1B Opto Compressor; a device that has become a studio standard since its release in 1987. The CL1B was developed by Tube-Tech founder, John Peterson. John began his career as a maintenance engineer at the Danish Broadcasting Company. Educated as an electrical engineer, he could usually be found refurbishing gear in his spare time. In the early 80’s his interests turned to tube driven devices such as the Pultec EQ and the Teletronix LA2A. As was the case with many of today’s audio manufactures, John witnessed the growing market for vintage equipment as the quality of modern products was, believed by many, to be declining. He began designing his own renditions of classic equipment, and the rest is history. Tube Tech is now a mainstay in the world of audio, and they continue to produce superior quality tube equipment that has been utilized by everyone from The Rolling Stones to T-Pain.
The design of the CL1B was modeled after the Teletronix LA2A, a classic tube limiter that has been a standard in recording studios since its release in 1965. John set out to build a device that offered the warm, musical compression of the LA2a Limiter, but with the added features of a compressor. The LA2a has only two controls, Gain and Peak Reduction. The attack and release times are fixed. The CL1B features a fixed attack and release mode, but also provides additional ratio, threshold, attack, and release knobs. This allows us greater flexibility to achieve the perfect settings for a variety of applications. The Cl1B has another unique setting called Fixed/Manual Mode. This setting has a fixed, fast attack and variable release. You would think that this compressor would come with a two week class to learn how to utilize all of these options. However, the operation is fairly simple and always produces great results.
We lean on this compressor mainly for Vocals and Bass. On vocals we often use the CL1B, in conjunction with an 1176 or Distressor, to add a smooth, warm compression that helps the voice find its space in the track. In the bass world, the CL1B is great at taming the tone, but if you’re going for punch, we lean on some of our other options such as the 1176. From time to time, we will throw a snare or kick through the blue monster to give it some extra warmth as well.
One trick that we have found to be pretty exciting on vocals, is an extreme compression setting that can result in some pretty wicked tube saturation. We start by setting the attack all the way to the left, with a medium release and 10:1 ratio. Next we increase the threshold to hit -10 or so DB of gain reduction; tweaking the ratio and release to taste until the vocal starts to drive. The result is an analog tape like compression that can be perfect for a rocking vocal.
Thanks for dropping by! Check back next week for our next installment of “Behind The Gear at The Record Shop”, where we take a look at a throw back to Abbey Road, the Chandler TG1 Limiter. In the meantime, feel free to drop by our Gear Page for more information on our vast array of equipment.
As always, we love to hear feedback on our articles. If this was helpful, or a complete waste of your time, let us know! We love making new friends as well. Feel free to drop by our page on Facebook and sign up for our monthly newsletter to receive valuable resources and updates on the studio. Thanks for dropping by For The Record. Catch you next week!
-Giovanni
Therecordshopnashville.com
Behind The Gear At The Record Shop Part 2: Purple Audio MC 77
Welcome back to behind the gear at The Record Shop. Are you ready to roocccck!?!?!? (cue stadium of screaming fans) This week we take a look at the Purple Audio MC77. The MC77 is a superior recreation of the legendary URIE 1176 Peak Limiter. This piece of gear bleeds rock and roll. If it was magically transformed into a person it would make Slash look like Yanni. From Drums to guitars to vocals, this thing will give you clarity, punch, and attitude for days. Let’s start by giving you a quick back story on the MC77’s estranged father, the URIE 1176.
The 1176 was designed by audio legend, Bill Putnum in 1967. Bill was a revolutionary in the audio world. He is noted to have been the first cat to use artificial reverb, double a vocal recording, and develop a multi-band equalizer. So it is no surprise that he was also the dude that created what is arguably the most commonly used limiter in modern recording. The 1176 became the first true peak limiter with solid state circuitry. It was popular for its super fast attack time, resulting in a signature tone that can be heard on countless records.
In 1997, a new audio company called Purple Audio released their first product, the MC76 (If you paid attention in roman numeral class you’ll get it). Designed by Andrew Roberts, the MC76 looked like an 1176 that Barney got a hold of in the restroom, and it sounded like one that hung out with Jose Canseco (if your not hip to baseball or the news, he did a lot of steroids). It had all the vibe of a vintage 1176 without the price tag, and it quickly became a highly sought after piece of gear. The MC77 is an update of the original with a few extra features.
Aside from the paint job, the MC77 really stands out in the crowd. It has the sonic characteristics of the classic, vintage 1176 with an improved high frequency response and added grit. We’ve used it on just about everything when we are looking for something to give a track some attitude. If we want to add some punch to drums, smooth out guitars, round out a bass, or put some rock in a vocal, the MC77 delivers every time.
We have one trick in particular that produces some really unique results. But in order to explain clearly, let’s start with a story. At some point back in the day, there was an audio engineer who spent way to much time playing with the gear in the studio. One day he said, “Hey, I wonder what would happen if I pressed down all of the ratio buttons on this limiter at the same time?” Once he had all four of the ratio buttons locked in place, he cranked the input and the rest is history. There are a few different names for this trick; all buttons in, nuke, British mode; but the result is a super compression that has been used to create some really unique sounds. I’m a big fan of smashing the drum room mics with this setting. The setting creates a lag in the attack time, resulting in extra punch, and a drastic compression slope, resulting in a quick drop in level. As this push and pull repeats with each transient hit we can achieve a rhythmic pumping of compression that breathes with the track and amplifies the “room sound”. Listen to any modern rock record and your bound to find this effect in play.
And that concludes this evenings presentation. Check back next week for our next installment of “Behind The Gear at The Record Shop”, where we take a look at another colorful device, the CL1B tube compressor. In the meantime, feel free to drop by our Gear Page for more information on our vast array of equipment.
As always, we love to hear feedback on our articles. If this was helpful, or a complete waste of your time, let us know! We love making new friends as well. Feel free to drop by our page on Facebook and sign up for our monthly newsletter to receive valuable resources and updates on the studio. Thanks for dropping by For The Record. Catch you next week!
-Giovanni
Therecordshopnashville.com
The Record Shop teams up with The Funky Umbrella
A little over a year ago I was out catching a set with one of our artists. I noticed a guy with a camera darting back and forth across the front of the stage in what looked like gymnastics maneuvers, but what was most likely his valiant efforts to catch the best shot he could in the crowded venue.
We were looking for a new addition to our video production team so I asked the club owner if he knew the guy. He said, “Oh ya, that’s Kaz, he’s here all time. He films all of the bands and offers them a great deal on the footage after their set.” I thought, “What a great concept. This is the type of dedicated, big picture work ethic that we’re looking for.” Of course before I was able to grab his attention, I got sidetracked with some friends, and we were headed to the next venue.
I was disappointed that I didn’t have a chance to chat with him. From what I could tell, this Kaz character was the hardest working videographer in Nashville. However, the disappointment was short lived. Sure enough, the next night I ran into him at a different venue. Or maybe it was his clone. I swear the dude is everywhere.
As our video department expanded we brought Kevin on for a few gigs and he nailed the project every time. He was always ready to work, but if he was ever tied up with another gig, Kevin would make some calls and have a crew ready for us right away.
So you can imagine that I was floored when he told me about his involvement in a new multimedia company called The Funky Umbrella. It is essentially a team of Kazanaters that have an unwavering dedication to their work and a genuine support of their clients. Could it be true? Did I finally find our match made in heaven? The Funky Record Umbrella Shop? While the name is a work in progress, I’m blessed to have the pleasure of working with these guys.
The Funky Umbrella is a unique media company that offers a wide variety of services under…….. (wait for it) one umbrella. They provide video, photography, web design, branding, and much more. But this ain’t the “one man, one stop shop” you’re used to. The Funky Umbrella has an amazing team of professionals, each with a specific skill set, working collectively to offer a comprehensive package of services for everyone from musicians to executives. (After reading that I realize I sound like I could be narrating their latest commercial, but what the hell, these guys are great!) But I’ll get off the soapbox and let you see for yourself.
Check out Thefunkyumbrella.com
The Funky Umbrella has teamed up with The Record Shop to handle the production of Balcony TV as well as our live video shoots and artist press kits.
We are stoked to be providing audio recording and mixing for The Funky Umbrella’s productions as well.
I am very excited about this new partnership (can you tell?) and look forward to continue offering our friends valuable resources in the development of their projects. Among our recent work, The Funky Umbrella and The Record Shop have teamed up with Lightning 100 to produce a video compilation of the Live On The Green Concert Series featuring Will Hoge, Los Lonely Boys, Edwin McCain, Ten out of Tenn, Here Come The Mummies, Brett Dennen, and many more. You can catch the videos here…. Don’t forget to check out The Funky Umbrella on Facebook to see their latest work and viral resources!
Catch you next time
-Giovanni
The Record Shop
therecordshop1 (@) gmail . com
The Record Shop teams up with E Line Music!
E Line Music is a new kind of company dedicated to getting independent artists the tools they need for success in today’s industry. Their professional and affordable services include web development, graphic design, music videos, ringtones, photography, songwriter services/licensing, marketing, promotion, distribution, consulting, and much more. For more information, and to find out how to get your music featured on their website, contact Jen at jen@elinemusic.com. Be sure to catch Balcony TV on eLMTV, E Line’s 24 hour internet music video channel coming this fall on www.elinemusic.com!
As always, we love to hear feedback on our articles. Let us know your thoughts on this exciting new company! We love making new friends as well. Feel free to drop by our page on Facebook and sign up for our monthly newsletter to receive valuable resources and updates on the studio. Thanks for dropping by For The Record!
-Giovanni
Therecordshopnashville.com
Behind The Gear at The Record Shop: Part 1 – Empircal Labs Distressor
If I was stuck in a studio on a desert island, and could only choose one compressor to bring with me, I’d grab a Distressor. The Distressor is without question the most verstile compressor on the market. If you walk into any professional recording studio in Nashville, or around the world, you’re bound to find at least one of these pieces in the room. If you drop by The Record Shop, you’ll find four of them. Why, you might ask? One, because its a bad mama jama. Two, because it adds a classic sound to digital recordings. Three, because we work on such a wide range of projects, we are often going after a different “sonic vibe” from song to song. The Distressor gives us the ability to shape the sound to fit the song. In this segment of “Behind The Gear” we’ll discuss how we utilize the Distressor here at The Record Shop, and offer some tips for using it on your own. So where did this magical piece of studio gold come from? Read on…..
Empirican History EL8X
The Distressor was developed in 1995 by Dave Derr. Dave started Empirical Labs as a recording studio and electronics consulting firm. He was also part of the design team at Eventide that created the H3000, a legendary effects processor. It’s clear that this experience played a big role in the innovation of functions on the Distressor. Simply put, Dave took the best features from a number of classic studio compressors, added modern functionality, and ease of use, while maintaing a “vintage” tone. As The Empirical Labs motto says, “We want to make products that work a little easier, a little better, and a lot longer – and make sure they are fun to use.” I think they’ve hit their mark.
-If you are interested in learning about the history of the Distressor and Empirical labs, check out this article at Mercenary Audio. The guys have a great story about how they helped Dave name the Distressor-
Vintage Features
Back in 1997, Mix columnist Paul White said this about the Distressor, “If you’re one of those people who believe only tube technology can deliver the true classic sound, a few minutes spent using the Distressor might cause you to re-think your position.” While digital recording technology continues to improve, we still turn to analog gear for its “musical response” and “warmth.” Usually, the word “warmth” refers result of tube saturation that creates a round, full sound. However, in the case of The Distressor, warmth is more like an adjective. Here are some of the features that make the Distressor so unique.
–Distortion Modes
The Distressor has two distortion modes that emit a warm, harmonic distortion to the audio signal. The Dist 2 mode enhances the second harmonics, similiar to the saturation of a Class A Tube. The Dist 3 mode features a third harmonic that has the qualities of a Class B tube, or analog tape machine. We often use the Distressor for these modes alone. By setting the ratio to 1:1, you can process the sound using these settings without compressing the signal.
-Detector Modes
The Distressor also features two audio modes that vary the response of the device. The first detector mode is the High Pass Filter mode (HP). In the HP mode the Distressor does not react to low frequency energy in the sound source. This keeps the Distressor from reacting irrationally to a sudden rise in low end, such as a “b” or “p” sound from a vocalist. The second detector mode, called the “band emphasis” mode, makes the compressor react more drastically to harsh sounds in the high-mid frequency range. This mode can be useful on a vocalist that has a piercing tone to their voice on high notes, or to offer an smooth “analog” texture to an instrument.
Settings
Another unique design feature of the Distressor is the Ratios and Curves. Compressors generally have seperate threashold and ratio controls. The threashold sets the volume level at which the compressor starts to work, while the ratio determines how drastically it reacts. In the case of the Distressor, the threshold has been strategically determined within the ratio that is selected. The Distressor has eight ratio options to choose from. Each setting provides a unique response to the signal, exhibiting a musically pleasing effect on everything from subtle compression to dynamic destruction.
-For more detailed information on the Ratio settings of the Distressor, check out the Empirical Labs website here….-
How We Use It
At The Record Shop, we use our Distressors mainly on Vocals, Drums, Guitars, and anything that calls for a “classic” or “gritty” vibe. We love the “Nuke” mode, a setting that makes the distressor act as a “brick wall” limiter, with a unique release slope. This setting is great for big room sounds. We also make use of an option called “Brit Mode” that simulates the effect of the classic 1176 Limiter set to “all buttons in.” (a setting that became popular in 70’s for aggressive drum compression.) The Distortion modes are an invaluable assest to the Distressor and can be heard on nearly every recording that comes out of The Record Shop. The most useful feature of the Distressor is its overall tonal cahrecteristics. It is a great option for anything that needs to be smoothed out, warmed up, or given some edge. If you would like to hear more examples of how we utilize the Distressor, leave us a comment and we’ll send you our favorite settings.
Check back next week for our next installment of “Behind The Gear at The Record Shop”, highlighting the legendary 1176 Limiter. In the meantime, feel free to drop by our Gear Page for more information on our vast array of equipment.
As always, we love to hear feedback on our articles. If this was helpful, or a complete waste of your time, let us know! We love making new friends as well. Feel free to drop by our page on Facebook and sign up for our monthly newsletter to receive valuable resources and updates on the studio. Thanks for dropping by For The Record. Catch you next week!
-Giovanni
Therecordshopnashville.com