Most of us have at some point seen an episode of the Fox TV reality show American Idol.  If you haven’t seen an episode, you’ve probably heard a song on the radio by one of the contestants that were on the show.

While many of them are really good, there are many other artists out there that are just as good and sometimes better that are playing shows and putting in tons of hard work and lots of hours travelling, playing, and working at their career.  Does that discount the talent of  American Idol contestants? What do you think?

Look at Aerosmith.  Whether or not you like their music, you cannot argue the fact that they have been making music that people like since 1971.  Did they get on a plane to do an audition and then perform on TV for the country before being signed to a record label?  Not exactly.  It seems today that some people believe they can “get their break” by going on a reality show.  Whatever happened to gigging three nights a week after your 9-5 job, connecting with your local fan base, and making yourself visible to people that might be able further your career and showing them that you’re serious about yourself?  Sure, American Idol can help you get there faster.  But is it a respected avenue to success?

How do other musical artists look at those that take a “short cut”?

Will American Idol artists have the same longevity in their career as those artists that came up on their own?

If you’re an artist, would you take the opportunity to be known as an “American Idol” if it meant it could fast forward your career?

These are just some things I’d love to hear your thoughts on.  My apologies for the recent silence on the blog.  I’ve been slacking in the writing department. Thanks for reading!

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To start, I’ve never been to the annual GearFest event put on by Sweetwater Sound in northern Indiana.  It’s quite a large production, with four tents of gear and instruments, and indoor workshops covering evertything from “How to Choose a Drumkit” to “Grammy Award Winning Recording Tips”.  They have an “All Stars Producers Forum” and “Pro Tools Master” workshops.  It’s quite the gauntlet of available information.  then there’s the Musicican’s Flea Market where you can buy and sell your own gear.

So far, I’ve found this event to be rather hit or miss.  Some of the workshops have been very watered down with just enough flash and tech talk to get the standard hobbyist interested in buying some new gear.  The Producers Forum, on the other hand, was a panel of Geoff Daking, Fab Dupont, Ross Hogarth, Dusty Wakeman, and Mitch Gallagher.  They went into how they became producers and what all that means to them individually.  They hit on topics such as running a session effectively and how to accomodate artists on a budget.  As a producer/engineer myself, it was great to hear these industry veterans reiterate a school of thought that I already subscribe to.

Things such as:

- Just because you “make beats” does not make you a producer. There is so much more to producing than most people realize.

- Software and hardware are not what make you a good engineer and/or producer. Knowing how to get a particular performance and sound out of an artist is what sets the best apart from the good.

- Avoid mixing with a timestamp. For example, the snare reverb of the 80′s.

- Try to create an environment for the artist. Sometimes this means doing the tracking sessions out of their home town.

These are some points I have always thought to be true.  I realized at an early age that there were people making music and putting food on the table at the same time.  But I knew that if it were easy, everyone would be doing it (and it seems now as though everyone is trying).  I knew that you had to have an ear for the entire process and be able to communicate with all different kinds of people.

This can be a huge downfall for some engineers.  They could care less about the comfort level of the artist.  They just want the person to play so they can record and edit it.  If you can’t effectively communicate with an artist and make them feel at home and comfortable, you will not get the best possible performance out of them.  This ability is what makes a good producer/engineer a great one.

There is a lot that goes into being a successful and appreciated audio engineer and producer.  Always remember that you are never done learning.

So, if you’re looking to get into the audio industry and are not quite sure if it’s for you, shoot me an email.  Or drop by the studio during a session.  And you can always come out to GearFest 2011 next year at Sweetwater.

Thanks for reading another slightly random post!

Cheers,

Josh Walker

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Being an audio engineer, I am fortunate to live somewhat close (2 hours) to one of the greatest audio gear companies in the country.  Sweetwater in Fort Wayne, Indiana has been my go-to resource for everything from XLR cables to studio monitors, and boom stands to digital interfaces.  My sales engineer has been great in assisting me with purchases, helping me meet my needs and ensuring I’m getting the best price possible.  Not only do they sell new and used audio gear, instruments, and more, but they also have professional recording studio facilities with full-time engineers.  I’ve never actually set foot in the complex, so I’m looking forward to checking it out.

On that note, Sweetwater is once again producing their annual GearFest 2010 event where they will be giving away $75,000 in gear.  This is a two day festival/conference where audio professionals and musicians alike will benefit.  There are workshops, a musicians flea market, live performances, tours, and more.  It is being held on Friday June 25th (noon-7pm EST) and Saturday June 26th (9am-5pm EST).

If you’re an artist, songwriter, recording engineer, band, producer, or involved in the music industry, it is a great place to find new gear and meet some new people in the industry.  After all, it’s all about who you know, right?  You never know either; you just might walk away with a new project studio setup!

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We’re all aware that music, like any other art form, evolves.  It has trends.  These trends change, fade away, and eventually return.  Some for the better, others for worse.

I was born in the early 80′s, which means I was witness to a huge swing in the music pendulum come the early 90′s.  In the 80′s, we had Twisted Sister, Metallica, Bruce Springsteen, Guns N’ Roses,   10,000 Maniacs, AC/DC, and plenty more.  And it was cool…in its time. If I had to describe the late part of the decade in one word, I would say: Reverb.  (Obviously that’s not the only difference; here I use “reverb” to describe the extravagant amounts of unnecessary delay and reverb along with hair metal guitar solos and tight leather outfits.)

Then came the 90′s, which introduced us to Soundgarden.  Stone Temple Pilots.  Nirvana.  Korn. Pearl Jam.  Sepultura.  Beck.  Rage Against the Machine.  Radiohead.  And many, many more.  Stripped down alternative rock.  Music with some raw emotion to it.  Lyrics that pushed the envelope in a different direction.  Each decade has its own artists that do this.  And we can appreciate them all accordingly.  I have to admit, though, that I am glad to have experienced the 90′s at the time that I did.  I was  a 13 year-old, keeping a blank tape in my deck so that when Bulls On Parade just happened to get airtime, I could hit record (and miss the first 7 seconds of the song on every recorded attempt).  This music was stuff that I could relate to.  Along with thousands of other kids, we threw out the music that our parents listened to (I must insert here that I was one of the exceptions: I did listen to my dad’s music.  He turned me on to White Zombie, Johhny Lang, B.B. King, and a lot more).  We found a new genre of music–music that we could identify with and hold on to.  Music that our parents wouldn’t understand.

Fast forward to 1999.  We start seeing another shift in the music trends.  You start hearing less and less alternative rock on the Top 40.  2001 we start seeing the emergence of “emo” music.  2006.  The bands still have long hair, but now they use straighteners to manage it.  Similar to the perms of the 80′s, only straighter.  2010 and it seems as though Pearl Jam should almost be on the classic rock station (I feel so old!).

One of the big reasons I was pursuing a career in the music industry was because of the music that I loved and was influenced by.  However, once I started getting into the industry, I realized that “my” music was not popular anymore.  Could I truly enjoy myself working in an industry where the music just wasn’t my thing?  Upon more reflection, I started realizing that the music industry and its trends are, for the most part, cyclical.  Sure, I was discouraged going into the industry because I was seeing more and more mediocre talent “making it” while the truly talented musicians were left in the dust because they didn’t have the look or the marketability.  It’s become much more about image than it is about the creativity and talent.  The record labels decide what they think we will like and then create a group or solo artist to fit the bill.  Autotune is hugely popular as an “effect” instead of the original intention of minor and transparent pitch correction for the occasional vocal error.  (On a side note, I am for the most part disgusted by the blatant abuse of Autotune and the masses of people jumping on the band wagon)

Had I been born a decade earlier, I would have been saying the same thing about the reverb-drenched vocals and snare drums of the late 80′s.  Thinking that music was in a downward spiral.  Then, just a few years later, the garage bands that had been getting the door slammed in their face time and again finally got some recognition.  They got it from the kids that were tired of listening to music that was all starting to sound the same.  They listened to music that was stripped down and real.  Minimalistic in a sense.

This is where we are headed.  A revolution where the real talented groups will take the helm and lead us into another decade of truly great music that will remind us why we listen to music in the first place.  I tell artists and bands that I work with to avoid the overuse of Autotune.  Invest in vocal lessons.  Practice.  The music of the next decade is going to be a stark contrast to what is on the radio today.  People will get tired of it and listen to something else.  If you are a musician, play what you want, not what you think people want to hear.  Your time will come.

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Recently, a friend of mine was putting together a lesson plan and asked me to comment on the following questions.  While they are very broad subjects, I’ve tried to touch on the base of each one.  Leave a comment and let me know your thoughts.  Who knows?  Maybe I’ll turn each topic into a post of its own.  Each subject has plenty to write about!

1: How does music affect a person?

Music is just as powerful as smells, sights, and the sensation of touch.  I might even go so far as to say that music is more powerful than the other senses in terms of emotions.  It has the ability to affect our mood  When we have emotional ties to a situation, our brain will associate whatever we were listening to with that emotion. This is why certain songs conjure up feelings of sadness (a song that was on the radio when your girlfriend broke up with you or when your dog died), feelings of happiness (the very next song you heard when you found out that you got first place in something), or just simple reminiscing (songs that you used to listen to when you were younger or lived in a different place).  Music also has the ability to affect us in conjunction with our sense of sight.  If you’re watching a movie, music plays just as important a role as what you’re seeing on screen. It helps take you up and bring you down with the mood of the actors. It can evoke feelings of sadness that the actors are feeling or make you anxious along with them.  Or it helps build suspense and puts you on the edge of your seat. The sounds attached to the screen are powerful tools that build dynamics and ensure that your emotions are going in the direction the filmmakers intended.  Music is powerful!

2: What are some brief issues when downloading music illegally?

By “sharing” files and then propagating those to even more people (without paying), you are literally stealing from the artists, labels, and management companies. Sure, nobody wants the major labels to make any more money than they already are without justly compensating their artists, but the bottom line is that it’s stealing. Period. The artists don’t always make much money as it is, but by using online services (or even swapping external hard drives), we are cheapening the music. We are saying to the artists that their music isn’t worth our 99 cents. We pay $1.50 for a bottle of water, but we won’t pay $1 for a song that we really, truly appreciate? There is something very wrong with this. Pay for the music you consume. Get rid of the illegal music that you’ve traded online or borrowed other peoples CDs. It’s hard, but it’s the right thing to do. If you were a painter, you wouldn’t paint for free and pass out your artwork to thousands of people without expecting even $1 for it. Come on, people. You’d hate it if it happened to you, yet it happens every day. Do something about it.  Don’t help the industry crumble even more; the major labels are taking care of that.  We need to help compensate the artists with what they deserve so that after the industry has evolved into its next form, the artists will still be there.

3: Do we spend too much time listening to music?

I don’t believe so. You can listen to music while driving, working, studying, working out, sleeping, and eating. It helps to pass the time, and often encourages creative thought. At the same time, music can be mathematical and highly structured.  This is one reason that so many people in so many different walks of life appreciate it.  It’s a common bond between us.  It helps break the ice in conversation.  But with all things, one can consume too much.  It becomes too much when we replace conversation with human beings with music.

These are my quick thoughts on the three questions my friend presented me.  I hope they spark some interest in you as they did me!

Cheers,

Josh Walker

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Thirty years ago, music was huge.  There were groups that were larger than life.  Mysterious.  And they sold albums.  Moved units.  Made money.  Gained lifelong fans.

And all of that was done without the aid of digital technology.  Without computers, external hard discs, or A/D converters.  Their music was created using the same kind of recording studios using the same guitars, drums, and microphones as today.  But when it was recorded, it was done so using analog 2″ tape (if it was 24 tracks, that is).  It was done so using tube mic preamps, and FET compressors.  The music didn’t have the huge dynamic range (soncially speaking) that we do with today’s digital capability, but it had warmth.  Punch.  Energy.  Love.  AKA tape compression.

Tape compression occurs when you try to force a high amount of signal onto a strip of tape.  The magnetic response of the tape is to do everything it can to allow for this, even if that means compressing some of the magnetic flux to the edges of the tape.  This is more often than not present in the lower frequency instruments such as guitars, bass guitars, kick drums, and floor toms.

That last paragraph may have been over some peoples heads.  But this isn’t: tape compression gives a track that “warm” sound we all love and remember from our favorite artists.

Everybody is going digital these days.  The funny thing is that we’re also creating software plugins dedicated to emulating that tape compression that we thought we’d get rid of by switching to the digital realm.  So, while digital gear and software definitely have their place, we can’t forget our roots.  The analog sound.  One way you can revisit this is to put on an album.  For those of you reaching for your iPod or CD carrying case, I meant record album.  As in vinyl.  Or go to a garage sale and pick up a $5 tape player and pop in your old favorites.  Sure, you’ll get the tape hiss and fuzz that you forgot existed since listening to your iPod, but you’ll be taken back to a time when music had a little more love in it.  It wasn’t quite as sterile as it can be today.  And our digital music can often times be of worse sound quality than the old tapes and records; have you listened to an MP3 lately?  We’ve replaced tape compression with the digital compression of data.

Which is worse?  I’ll let you decide.  For me though, nothing beats putting on a vinyl record of Elton John and just losing myself in an era gone by.

Thanks for reading.  Till next time, cheers.

Josh Walker

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And so it begins. This is the first of many weekly music reviews.  I have been taking submissions from all you you for some time now. To kick it off, I’ve been checking out a band called Lydia based in Gilbert, Arizona.  I am actually very partial to this part of the country as it’s where I began my professional journey in the music industry. At first listen, their tracks are diverse in dynamics, tempo, and overall feel.  I appreciated the sound of lead vocalist Leighton Antelman’s voice.  His range is pretty good and the harmonies are tight.  His vocals never crossed the line to become annoying.  Instead, they were intriguing, making you want to listen to the next song to hear what he would do lyrically and vocally.  The music takes the focus on the album, not any one particular musician.

I especially liked the track “This is Twice Now“.  It was a great example of how a piano can be used in rock music without being cliche.  And they don’t overuse it on the album.  When I first heard this song, I was actually surprised to hear the piano take center stage at the introduction.  At the first verse the rest of the band enters and it’s a beautiful balance of instruments and vocals.  The snare drum is a nice contrast to the overall vibe of the song.  It really helps balance the verses.  Right around two minutes the songs pulls back to more of a half-time feel to bring things down a bit and make it more contemplative.  Mindy White’s backing vocals at this point were the right amount of a feminine touch to help bring the song full circle and back to where it started with the soft spoken piano.

Another intersting track is “Hospital.  It has a very ambient, sluggish feel to it.  Leighton shows some of his range, building on the dynamics of the song.  Appearing as a guest vocalist on this track is Aaron Marsh, formerly of Copeland.  There’s just a touch of his influence on this track, helping add to the overall dreamy state. While this track isn’t the most technically difficult for drummer Craig David, he does a great job keeping it simple enough to keep it interesting.  You can tell a musician knows how to make great music when they show tasteful discretion.

Speaking of the drums, Craig’s work on the rest of the album gives the sound a bit of an easy going feel.  There are songs that are quick, but even they have this sense of not caring about what’s happening outside of the music.  His work on this album is one of taste and discernment.  I really think he’s got much to offer, and in holding back at times, he is only showing more of his ability.  I especially like his snare work.  He uses it to help you along with the sway of the music.

The entire group makes it easy to lose yourself in the music.  This doesn’t happen too often anymore.  Many bands find a formula that works and they beat the horse beyond death.  Lydia is able to stay true to their sound on “Illuminate” all the while showing their ability to diversify.  For example, “December” has a feel quite different from that of the rest of the tracks.  But it remains true to the sound of the album.  This track is a bit edgier, all the while still playing to the dynamics of the album.  There is an interesting arpeggio/flange effect during the verse that really helps set the guitar apart.  Then the guitar tracks carry a nice melody line on the chorus, coming together with the rest of the instruments to help solidify the sound.

Lydia will take you high, low, and everywhere in between.   The guitar work of Steve McGraw and Leighton is highly complimentary to Craig’s drumming.  I enjoyed the differences in playing on the track “Stay Awake”.  There was picking, driving choruses, and a subtle use of a wah pedal.  I feel that it can get over used quickly, but found them to really use the wah to add to the song in a minor way. This album shows that as a group this is a rock band from Arizona that is capable of producing intellectual and quality music.

I’d never heard of them till recently, but I’m going to make sure to follow them.  You can follow Lydia on Twitter, become their fan on Facebook, check out the Lydia MySpace, or view the official Lydia website.

Thanks for reading my weekly review.  If you have an album you’d think I should check out, tell me.  Keep checking back to make sure you don’t miss a review.

Cheers,

Josh Walker

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As some of you may have heard, I am in the process of opening a new recording studio in Northern Indiana.  I’ve been able to network and connect with multiple studios in Chicago, northwest Indiana, Indianapolis, and southwest Michigan, but I still needed a space that I could use for my projects in the area with local artists and groups that can’t make the drive to Chicago or Michigan.  There are plenty of studios within 100 miles, but with rates and quality varying, it’s always nice to have options in between.

I’ve had the opportunity to build and open a recording studio that will not only be used to track and mix bands, but also benefit the local community.  I’ll be using this space to host frequent workshops and seminars to educate and teach young and old alike about music, recording, and managing techniques.  There are many misconceptions and bad habits when it comes to making music; I’m looking to help curb this and fill that void.  There are young kids that have a passion for music as well as older people that have been around and creating music for decades.  I’m looking to foster community and education in the local area while helping artists and bands create the music they love.

I’m also doing artist management for a small venue.  I’ll be bringing in local and regional artists and bands to perform every two weeks.  If you or anyone you know might be interested in performing, get ahold of me.  These performance will include live streaming video and audio during the performance.  The studio is tied into the venue, and I’m offering live recording to any artists that perform there.

I’ll be documenting the progress of the studio as we build.  Right now, we’re in the framing stage with cabling, drywalling, and more.  I’ll be moving in recording gear throughout the next couple weeks along with studio furniture and lighting.  In the coming weeks and months we’ll be painting, applying acoustic treatment to the rooms, and completing the “vibe”.

You can keep checking back to keep up with the progress and see how it’s coming along.  And if you know of any bands that could use my services and experience, let me know.
Cheers,

Josh Walker

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I am reviewing an album from a different band each week. You decide who I listen to. Tell your friends to fill it out. I’ll be posting the reviews here on my site, so be sure to bookmark it. Thanks in advance for your suggestions. I’m looking forward to hearing what you guys like. Also, feel free to make multiple submissions, too (preferably of different artists).   Still taking your submissions, so send them int.

Cheers!

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The internet has tremendously altered the way musicians interact with fans, vendors, potential labels, and other bands and artists.  It has opened up avenues for streaming music to the world, selling merchandise online, and live video feeds for the people that can’t be at the show.  The Internet has allowed otherwise dopey garage bands to become overnight sensations (well, almost overnight).  The availability and unrestricted views into the lives of these bands and artists has made them even more appealing than before, showing fans that they’re real people, just like the kids that listen to the music. However, it has also given many bands a false sense of accomplishment.  A high school rock band that’s only played shows in their home town of 2,000 people (and only had a headcount of 50 of the total town’s population) might think they’re something big because of the number of hits on their website (if they’re smart enough to have their own domain) or track plays on their MySpace.

The reality is that the bands that sell music are the bands that are working.  Translate “working” into playing shows like there’s no tomorrow.  Being seen doing shows with other bands.  Being active in the community, online, and in the local establishments.  Connecting with the fans on a personal level.  In years past, a band could be amazing, but never heard.  Until an A&R scout discovered them at the local bar.  Then, with the financial backing and a huge marketing push from a major label, the band would explode onto the scene.  And they could maintain that mysterious aura and still sell millions of albums.  Not today. Now you have to show that you’re willing to work for it in addition to being talented.  On top of that, the artist needs to know how to present themselves to each individual they come into contact with on a daily basis.  On one hand, it is imperative that the artist lets their personality show through, but on the other hand they need to show their professional artist side as well.  Whether it be meeting with a fan, a venue rep, an audio engineer, or a record label executive, you need to know how to handle yourself.  If you’re serious about you music, you can’t act like you’re still playing the high school parties.  Below are five things to do that will help you in your career as an artist.

1. Hand out business cards. When you meet someone that might be able to  help you in your career, they need a way to to contact you.  Chances are they gave you a card with their number on it.  It doesn’t matter if you think business cards are out of date or you think it’s too “business like”.  And I’m not going to go dig out your CD case to look for your MySpace or email address.  Just get a simple card designed and hand them out like candy.  Also, make sure your email address is relevant to your band.  No paperpower382_bunny@yahoo.com.  Get a domain name and an email address for your band.  It’s $10.  Heck, I’ll even do it for you.

2.  Show up on time (read: early) everytime. However you look at it, look at your music as a business.  That’s what it is.  It’s your job.  And you don’t show up to work late.  Or to a meeting late.  If you have a load-in scheduled at a venue, be there at leas twenty minutes early.  You’ll be able to meet with the venue personell and get a feel for them before starting to load in and dealing with the chaos.  You get some extra face time with the venue rep and are able to show them that you take your time as well as theirs seriously.

3.  Get to know the bands you play with. If you play a show with another band, you have a huge connection from that alone.  They’re playing in places you’re not.  They’ve got connections with people you don’t.  Until now.  Swap shows with them.  Keep in touch with them.  You need to maintain these relationships for your benefit.  If they get picked up by a label or put on a decent tour and you’ve made an impression on them, they’ll keep you in mind when they need someone else on the ticket.

4.  Leave the drama behind. When I’m working with a band, I expect full cooperation and seriousness.  Sure, we have fun and joke around, but when you’ve got a budget and a schedule, the budget and schedule come first.  If there’s extra time and/or money, then joke around.  And you can always goof off while working, but it’s knowing how to balance the two.  As for drama, if there’s a qualm between two or more members of the band, you have three options as far as I’m concerned.  1: Work it out.  2:  Put it aside for the time of the project.  3:  Get rid of the member that is causing issues.  If they can’t take it seriously enough to realize that it’s time to grow up, I promise you there is a line of 30 people waiting to fill that spot.  Give me a call and I’ll get it filled for you.

5.  Don’t get ahead of yourself. I know that it is exciting to cut an album.  Being in the studio just has a way of making bands really feel like they’ve accomplished something.  And you should feel that way, because not all groups are able to get into a studio.  However, after time, many bands will start writing new material just shortly after releasing their album.  I tell bands that’s okay as long as you’re not playing that new material at shows.  You’ve got an album to sell now; if you’re playing a new song that’s not on the album, the fans are going to wait till you release the album with the new song.  There goes your sales.

This is an extremely condensed list of tips.  There are millions more.  And on top of those millions is another million variations of each of the initial tips.  For more help on management, production, image branding, or performance consulting, contact me today.

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