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The Top 10 Things To Do Before Mastering (in no particular order)

Eric Conn of Independent Mastering drops by For The Record to share some insight on preparing for mastering. Eric has mastered records for a variety of artists. From Willie Nelson, Garth Brooks, and John Prine, to Skid Row, Hank III, and Young Buck. Here at The Record Shop, Independent Mastering is our first choice to put the final touches on our records.

You can learn more about their work at Independentmastering.com 

1. Sequence Your Album

Preparing an album sequence before mastering is a must. You can play with the order in iTunes or in your DAW, then make a CD and take a listen! How does it flow? Anything jarring? Does the sequence take you on a journey or tell a story?

2. ISRC CODE

Many radio stations track music via an ISRC Code (https://en.wikipedia.org/wiki/International_Standard_Recording_Code), and digital distribution company’s use this code to track purchases.  Check with your digital distribution company—they may assign a code to you, or you can purchase your own code. The ISRC Code can be imbedded in the TOC at mastering, or you can have it done later. The benefit to having it done at the time of mastering is that the code will be on your manufactured discs.

3. CD-TEXT

Do you want CD-TEXT on your disc? CD-TEXT allows your recording to be identified on some (but not all) CD players.  If you do, please type out: Artist, Album Title, and Name of Songs. Better yet, email it to the mastering house so they have it the way you want it before you arrive!

4. MEDIA

Labeling your mix media is a must, especially if your not attending the mastering session. Artist(s), song titles, sample rate and bit depth are a must when using digital media. Analog media needs reference tones and phase clicks, and leader tape in between the cuts. Other details should include: contact information for the artist, producer, and engineer, with both a phone number and email address. A sharpie with the artist’s name scribbled on the DVD does not count as labeling your media. If you want to be considered a professional, label your mixes. Hand a professional mastering engineer a CD/DVD/Tape with nothing written on it and even if he doesn’t say anything about it, he’s thinking “amateur”.

5. DECISIONS!

Do you like your mixes? Have you made decisions regarding alternate versions of the mixes? Vocal up? Vocal down? TV-Tracks? Instrumental-Tracks? Radio Edits? Being satisfied with your mix is the number one key to having a successful day at mastering. Coming in with all the versions you need to have EQ’d will save you time and money.

6. ATTENDANCE

Are you familiar with the mastering room? If not, bring a reference disc! The reference disc can be anything, but it should be something you are familiar with, something you like. Take 5 or 10 minutes to listen to your reference material in the mastering room before you start making critical EQ decisions in a room you might not be familiar with. Trust the mastering engineer. He / she works in the room every day and knows it. If you’re feeling unsure, take the time to make a reference disc of one or two songs that you can listen to in your car (or other system) before you go down the wrong path in a room you don’t know.

7. Getting What You Want

Sometimes you might not get what you want the first time around. Sometimes you will. Make sure you have a realistic attitude towards mastering and know the limitations of the craft by talking about it with the engineer. Miracles can and do happen in mastering! Or, it may be that you need to remix something. Communicate your needs!

8. Compression on the Mix Buss vs. Compression at Mastering

Get what you want out of your mix buss first. If you like it there, you’ll like it after mastering. If you’re pumping up your mix for your client via a digital limiter to make it “louder”, make sure your mastering engineer knows!

9. Your reference media VS. The mastering reference media

What have you been listening to? Did you mix to tape but all your reference versions have been digital copies bounced to disk? If that’s the case, you have no idea what your mix sounds like. Make your reference versions reflective of your mix media. Then bring the mastering house what you’ve been listening to.

10. Don’t be swayed by price.

Cheaper isn’t always better. Joe Blow in the bedroom charging you $50 bucks an hour after he gets home from his day job is a hobbyist at best. Twenty-seven hours later you’ll have spent $1350 and you might not be any closer to getting what you want than you were at the first hour. Use a professional, in a real studio, with real tools. In 3-5 hours you’ll get what you want and have the peace of mind that the master will be right. Good, Cheap, Quick: pick two.

Coming in prepared will save you money, and your project will go much smoother! These are some of the questions I like to ask my clients, and your mastering engineer may have more or less questions! If you take the time to communicate your needs and the desired outcomes you would like to achieve from the session, you will be much happier with your final master. Your mastering engineer will be happier too!

-Eric Conn (Independent Mastering) 

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Summer NAMM show 2010: Five new products that every artist should know about

The annual summer NAMM show was in Nashville last weekend, so we decided to close up The Record Shop and head downtown to check it out. As you probably know, the city of Nashville has been dealt some pretty rough hands over the past few years. The music retail industry is no exception. Sales have dropped more than 20% over the last year, from $7.1 billion in 2008 to 5.8 billion in 2009. Everything considered, we weren’t sure what to expect as we walked into the downtown convention center. We quickly found that many of the major, “corporate” vendors appeared to be (how to put this politely), lets say, “not that excited about being there.” Luckily we ran into some friends and stuck around long enough to find that there were a number of new companies who still had an optimistic outlook. Companies who weren’t jaded by an economy they can’t control, but excited to talk about how they planned to find their niche in the new market. Here at The Record Shop, we always love hearing about unique products that can help artists reach their full potential. This week, we highlight five companies that have embraced the trends of the modern music industry and developed unique products that are sure to be a hit!

Sonoma Wireworks- Mobile Recording for I Phone

If you’ve ever wished that you could keep a recording studio in your pocket, then you’ll love Guitar Jack! Guitar Jack is an iPhone audio interface developed by Sonoma Wireworks. You never know when inspiration is going to strike. With Guitar Jack you’ll always be prepared to lay it down. Wow, after reading that, I kind of feel like the sham-wow guy! Screw it. I really dig this product. I can’t tell you how many times I’ve had an artist bring in a noisy, mobile recording of a new song, and struggle to figure out exactly how they were playing it. We’ve all heard somebody say, “man I had this killer tune yesterday, but I just can’t remember how it went.” Guitar Jack makes mobile recording quick and simple. The device just plugs into the bottom of your iPhone and integrates with apps such as Recorder, Taylor EQ, and Sonoma’s Four Track. Guitar Jack features a 1/4 inch and 1/8 inch input, as well as a 1/8 inch headphone output. 

I had the pleasure of chatting with the Sonoma team during NAMM. When asked how Guitar Jack compares to other devices on the market Sonoma says, “GuitarJack features both a 1/4″ mono jack and an 1/8” stereo jack that can be used simultaneously within FourTrack. Adjusting the analog input level before it is digitized and clipped was one of the most requested features, and with GuitarJack, this is possible with 60dB of input gain and a selectable pad for a total of 72dB of input level control. Additionally, the GuitarJack  has selectable hi-z and lo-z impedance on the 1/4″ input allowing for instruments, line level and microphones. Lastly, the GuitarJack is made of hard-anodized aluminum and made in the USA. The quality of craftsmanship and the range of features really make GuitarJack stand out from other interfaces.”

Sonoma also has a comprehensive product line that offers excellent additions to Guitar Jack. Four Track, is a multitrack recording application that allows artists to record on their iPhone. Four Track allows the user to bounce down tracks while building the arrangement. It easily connects to a nearby computer, using its Wi-Fi sync option, to allow users to quickly export their audio. They also offer an eight track version, called Studio Track, that is compatible with the iPad. Users can also utilize their drum loop application, Instant Drummer, to arrange a groove and import into their Four Track session.  Overall, Sonoma provides a unique line of products that allows everyone, from the novice musician to a seasoned pro, to easily record their tunes.

If you are interested in learning more about the wide-variety of Sonoma’s products, you can visit their website at sonomawireworks.com

Vie Drive- Content delivery system

As the music industry continues to shift its focus to online content, countless digital media outlets have been developed to offer new ways for artists to interact in the viral realm. A Nashville based company called Vie Drive has recently launched a unique product that provides a wide variety of promotional options for artists and businesses. 

Vie Drive is a USB device that incorporates a custom interface which provides a wide variety of interactive content. When the drive is plugged into  a computer, the interactive interface immeditley loads, providing fans with instant access to your media. The interface is automatically updated as new content is posted. Some common features include music, video, photos, web links and a calendar. The program also allows the client to sell banner ads to sponsors.

Vie Drive can be used to share any type of media content. From press kits and promotional material, to concert tickets and fan club membership. It is a great way to gain traffic to your sites as well. The device automatically tracks user activity so artists can easily gauge what there fans are most interested in. Another great thing about Vie Drive is its flexibility. Every artist has different needs, so the Vie Drive team works closely with their clients to develop a unique concept that with help them reach their goals.

To hear more about this exciting new product, drop by the website at viedrive.com

Wheat Ware- Eco-friendly accessories

We are all trying to find new ways to be eco-freindly these days. However, when it comes to musicians, going green is easier said than done. We can’t exactly pack the band’s gear in a Prius and hit the road. Fortunately, an eco-friendly company called Wheat Ware has developed a unique way for musicians to do their part in protecting our natural resources. 

Wheat Ware produces wheat based products in an effort to reduce the use of our world’s forests and natural resources. They offer an impressive line of accessories for musicians., including guitar picks, drum sticks, reeds, and maracas. They feel and play just like their wood and plastic counter parts, but they are 100% biodegradable and non-toxic. Unlike some other crop-based products, Wheat Ware does not use any plastic. Their products are 100% wheat-based and bio-degradable.

You can check out all that Wheat Ware has to offer at wheatware.com   

Zip Box- Unique take on digital distribution

The market trends of record sales continues to be a major topic when discussing the state of the modern music industry. Illegal downloads, combined with the growing trend of free content, has left many artists struggling to find an effective way to sell their music. Digital sales are quickly nearing the number of physical sales, as I Tunes continues to lead as the #1 music retailer. In Q1 of 2010, I Tunes sold 28% of all music purchased in the US. Walmart (17%), Best Buy (14%), and Amazon (11%), round out the top 4. With 70% of music sales held by the top four companies, along with rumors of Google launching its own store, it is surprising that anyone else would join the race. However, a Nashville based company called Zip Box Media has recently launched, and they are up for the challenge!

Zip Box is a digital distribution company that has taken a unique approach to digital content distribution.

Initially, there didn’t seem to be much of an advantage when compared to competitors such as Tune Core, CD Baby, and Snocap. A Zip Box membership currently starts at $18/month ( normally $38), and includes an additional 25% commission on sales.  I asked Paul Wright III (Zip Box Media) how their service was worth the cost. He explained, “It’s all in the content and the data.” As opposed to the I Tunes store, where artists are listed within an endless database of media, Zip Box offers their users a unique, personal website that serves as their store. When a potential buyer clicks on a link to an artists store, they are not distracted by other options, but are provided with a variety of content to browse while previewing the artists material. The Zip Box artist site includes customizable templates, a digital catalog, secure shopping, and secure downloads. Zip Box can also be utilized to distribute text files, software file, images, videos, ringtones, ebooks, midi files, and sample libraries. 

In addition to their own unique store, artists are provided with updated data on sales. They can view a detailed breakdown of sales as well a data on specific buyers, demographics, markets, etc. With this information, users can gauge the effectiveness of their promotional strategies and adjust their campaigns accordingly. The site also allows artists to create an automated thank you message that is sent every time someone makes a purchase. This allows artists to maintain relationships with fans, and offer additional content as well. Zip Box’s data feature is a great advantage for independent artists who want to maximize their marketing strategies. 

Further information is available at zipboxmedia.com

Mobinek0- Short Run Vinyl Pressing 

Over the past few years there has been an almost cult-like resurgence of music lovers who prefer listening on vinyl records. This growing demand has led to several major artists offering vinyl versions of their new releases. As a result, vinyl sales have continued to rise steadily, reaching 1.9 million units in 2009, a 33% increase from the previous year. Many independent artists have taken note of this trend, but there are only  a handful of companies that offer affordable, short run vinyl production.  I ran into Richard Dron of Mobineko, who shared how his company was taking a unique, personal approach to an industry based on mass production.

Mobineko is a British owned CD, DVD, and Vinyl manufacturing company with a factory based in Taiwan. Mobineko offers short run vinyl pressing starting at as few as 50 units. They have a great variety of colors and designs to choose from. Mobineko is a tight-knit group, with about 20 employees that oversee the operation. This gives them the opportunity to interact directly with their clients, so when you call their office you’ll actually be talking with a real person who will be available to assist the client throughout the manufacturing process. Imagine that! They also have an extensive quality and price garauntee on their services. This level of dedication to the genuine support of their clients is hard to come by these days, and makes Mobineko an excellent choice for Independent artists who are looking to take their first run at vinyl releases.    

You can learn more at mobineko.com

Have you used any of these products? Have on opinion on how these products will fair in the market?

We would love to hear your questions, comments, and feedback! If we can be of any assistance, feel free to drop us a line!

Giovanni-

therecordshop1 (@) gmail.com

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Three Reasons Every Artist Should Have A Newsletter

Maintaining a dedicated fan base is one of the most daunting tasks faced by musicians. We all know the importance of social networking, working the press, and promoting shows. If only there was a way to incorporate all of your promotional efforts into one source that could be easily distributed to your target audience. Well guess what? There is! It’s called a newsletter. Newsletters are a simple and effective way to build a “community” around your music, while keeping in touch with your fans on a regular basis. This week we discuss the three reasons why every musician should have a newsletter. 

 1) Build a real fan base

Want to know the secret to developing a solid fan base (after you write good songs)? Offer valuable content to your fans. David in Portland is probably not going to visit your site just because you sent him a comment about your new song. Now, what if you told David that by signing up for your newsletter he would receive a free download of an exclusive song that you wrote while touring in Portland. I’d bet your odds of a response would be looking much better. 

There are many great ways to build your fan base by offering valuable content through a newsletter, but first you will have to develop your mailing list. Incorporating a news letter sign up box on all of your web sites is a great way to start. Offering free content for newsletter members is an effective way to encourage potential fans to sign up. 

Unlike a social networking site, where members can join your page with a simple click, your fans will have to share their email address in order to join. Due to the endless amount of spam email’s generated on the web, most people are not likely to give out this information unless they are going to receive valuable content in return. Therefore, an email newsletter gives you the opportunity to connect with fans that have a genuine interest in your music.  

2) Stay in touch with your fans

Most artists have a wide variety of viral outlets for their music. There’s myspace, facebook, twitter, youtube, reverb nation, last fm, band camp, just to name a few. If you have spent any time promoting your music on the web, I’m sure you have noticed that it can be difficult to keep your fans interested in all of your pages. Most fans just don’t have the time to browse through every page. With all of the artists out there fighting for attention, it can be difficult to stand out amongst the crowd. One of the greatest advantages of an email newsletter is the ability to share all of your sites and content in one place. 

Your newsletter can also be a great way to interact with your fans through fun contests and promotions.Through offering exclusive promotions for newsletter members, you can maintain interest in your music and establish value within your content. You can also build relationships with your fans through incorporating a fan of the week, answering questions from fans, or encouraging them to vote on a poll related to your music. There are endless possibilities for creative fan participation within a newsletter. 

Promoting upcoming shows is another effective aspect of an email newsletter. It’s great to post events online and throw up flyers around town to promote a gig. However, with your newsletter you can communicate directly with your core fan base. If you are planning on touring, you can organize your mailing list by region and send out invites to fans in the surrounding areas. With an event posting or flyer, you are limited to the basic details of your show. In a newsletter you have the opportunity to tell your fans more about the performance or offer discounts and giveaways to members who attend.

3) Connect with the press

A newsletter is an excellent way to build rewarding relationships with press and radio. These companies receive countless messages every day from artists who are looking for valuable exposure. If you want a shot at gaining entrance to the gatekeepers of promotion, it is important to offer plenty of valuable content. Mailing a press kit is great, but your banking on the chance that your cd makes it through their endless pile of submissions. If you work on developing a relationship and can make it into the coveted inbox of a writer, you will have the opportunity to maintain their interest with your valuable content.

As we discussed earlier, showcasing valuable content is essential to maintaining your fans interest in your project. This is even more important in connecting with the press. Everybody is releasing new songs and playing shows. The key is to show that what you are doing is notable enough to share with their audience. It is also important to consider how your content could be beneficial to the press. For example, if you are using a product, website, or promotional campaign that has been effective in developing your project you could share your experience and explain how it could benefit their readers. 

Once you have received some coverage, you can use your newsletter to share this content with your readers. Through including a link to the article in your newsletter, you can show your appreciation of the press outlet that showcased you project. This method of promotion can go a long way in developing long-term relationships with the press. If you can provide an outlet to draw traffic to a publication, your value to them will greatly improve. 

Are you ready to promote your music with a email newsletter? Still wondering if a newsletter is right for you?

We are happy to answer any questions and help you get started in developing your content! Drop us a line…

We work with Constant Contact to create valuable email newsletters for artists and businesses. We are now offering a free trial of the program. Feel free to drop us a line for more information!

As always, we appreciate your feedback! 

Feel free to leave us a comment with your thoughts, experiences, suggestions, or anything else you’d like to tell us about! 

 Want to hear more from The Record Shop? Sign up for our newsletter here…

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