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capitalb last won the day on July 23 2015

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  1. I guess I can expand this thread to "Working With Anyone" on any part of the production process. I did come across a few producer hopefuls that I wanted to go ahead and try to work with recently and immediately encountered a new problem. Conveying to them your vision from notes, referencing other tracks, and a .mp3 of your demo production is much more difficult or time consuming than you would think. If I were there in person, things would be simple. Here is an email I just sent to a prospective producer.. ---------------------------------------------- [[[[Thanks, ok sounds cool. My sample drive crashed so that will effect how articulate of a work tape I can provide. It also would take me too long to get something as elaborate as a lot of those playlist tracks (Well, I can get it as elaborate it's just going to sound way more generic or just wrong because of horrible sound selection). I'm in the stage where I trying to decide on a balance. I finding it difficult to truly convey to you what I'm going for without actually doing it myself! Which defeats the purpose, lol. For Example: I was trying to do a plucked guitar part (or harp, or other stringed instrument) like I heard in some John Legend track and ran into some issues. 1) I have nothing remotely close to this sound. 2) It is impossible to program anywhere near the level of humanization needed for the melody. The end result is a inappropriate sound doing a similar, yet robotic, non humanized melody, but it couldn't be further from what I was really going for. And in no way does it fit in the work tape or convey to you what I want. Let's say this happens on over half the elements in the production. Is that work tape going to be of any use at all? If I reference songs with similar elements I was shooting for will that be enough for you to figure things out? Would you prefer, on those parts, that I just provide a midi clip of the melody with no actual sound? Or maybe perhaps just use a stock piano sound (something that at least sounds descent) regardless of how close it actually is to the sound? What has your experience taught you is the best way for me to deal with these types of issues?]]]] -------------------------------------------------- So, as you can see, finding your "production team" isn't the end of the road. It's the beginning. Communicating effectively is going to be the biggest hurtle. Do any of you guys/gals have experience with this aspect of the process??
  2. I feel sorry for your friend, lol. I think you did a very nice job of conveying that type of marriage, I feel like I really dove into his world for a bit. I liked the clocking in theme.
  3. Isotope Iris 2 (not many presets), Native Instruments Rise And Hit (more acoustic movie type sounds), Vir 2 Apollo Cinematic Guitars (way more versatile sounding than you would think based on the name), and Native Instruments Absynth. Those would be "go to" types I would think either for digital or acoustic type pads you described. Workhorse all around synths with incredible sound that do anything and are easy to use: Massive, Synthmaster, Serum.
  4. Ok, I've been looking for vocalists, producers, session musicians, etc. Basically trying to build a "production team" of contacts. Right now I have been focusing on Soundcloud PM's and Airgigs (an online marketplace that works like yellowpages where people post their services. What do you call these type of sites??) You have to sift thru a bunch of mediocrity and it can be difficult going back and forth comparing examples of their work to top-tier (inaccessible) professionals work that you know is of great quality. Then you have to PM all the ones you think may have potential and only a fraction will reply (even on a site like Airgigs this is true, go figure!). Once they reply their is an art to the process of conveying what your need is and how you want to work and establishing a rapport with them. I think I don't get replies from some more rigid and inflexible types. All of this takes a long time, and a lot of decisions on quality, workflow, timeframes, deadlines, prioritization, integration, coordination etc. fill the process with anxiety and frustration. You start thinking things like, "Should I start to work with this guy and invest time in the creative process or continue looking for more contacts?." As well as trying to work with multiple people on the same project when, for example, one producer doesn't have the the EDM chops your looking for though they are expert producers otherwise that you would love to work with. What do you guys think of my process so far? PS- Spotify can be useful if you find an accessible artist/producer on there by looking at any featured artist/producers they have worked with and then going to their page to check them out as well. Odds are they are talented and accessible too. And they too, will have featured artist/producers on a lot of their works...
  5. Thanks for the help so far guys this is exactly what I was looking for. I think my biggest issue right now are not knowing where to look for the right people for the job. as of now I just randomly scour google/spotify/youtube/social media/forums. I wish I had a more informed approach. Who: Session Musicians, Demo Studio. Students. Local anybody from social media with talent. From church choirs. Cover Artists/Bands. Any accessible artist who aren't too famous yet. Where to Find: Youtube, Google, Spotify, Forums, Social Media, Tumblr?, people you meet at concerts or other music things like conventions?, church, music school capuses?, Studio's. It just seems so random and I'm so ADD!
  6. Thanks, tunesmithth. Yea, I've looked into online ones like studiopros but it all seemed generic.. like the end result would be run of the mill, but that was just my initial gut impression. Maybe I should research more of those instead of forming my opinion on that one outfit. As far as the first step of finding a vocalist, I've thought of just scanning spotify and youtube artist who cover famous songs and trying to get in touch with the good ones out of them but I don't know how feasible of an idea that is. I guess I should just try it nothings stopping me.
  7. I'm aspiring producer/artist/songwriter from western Kentucky. I'm into all kinds of music from country to rap, progressive house to rock, pop, billboard hot 100, etc. I like working with vocalists for sung material as I only rap. I write all kinds of genre's. Like collaborating with other producers/engineers/sound designers because my production skills can't quite give me the vision I'm going for yet alone. Well, I guess that's good for now.... Nice to meet everyone.
  8. Do you have a soundcloud or something where we can check out some of your stuff? Or is links not allowed until a certain amount of posts (This is my second post) Welcome.
  9. As someone that likes to produce and write the lyrics for his own music but can't sing at all a "Working With Vocalist Guide" would be of great use to me. Everyone with experience in this please revise my below idea as many times as needed to perfect it. It should include: 1) Best way to find great vocalists. 2) How to present your lyrics to the vocalist. -A vocal recording of my terrible voice singing it? The essence of it can't be truly conveyed any other way right? -Obviously a written version. -Is some level of music notation necessary or will that be conveyed through the recording. -How do you determine if the singers vocal range fits your lyric? 3) Determine if singer is willing to work at studio if normally they just use their home setup. -If they are 100's of miles away, is it feasible to expect them to go to a professional studio near where they live and do a good job if they've never done this before? -Should I call ahead to the studio and have a discussion with the tracking engineer that will be working with them about what I want? 4) How to work out payment upfront. And what if the unlikely event occurs where it becomes a hit? What then royalties? 5) Etc. Whatever I'm leaving out you anybody else can think of. Summary: I just want to know how to find great vocalist, convey to them my lyric so they intimately understand how I want it performed, and make sure that they have the vocal range to do it upfront, and to get it professionally recorded with as many stacked vocals as I require. As well as knowing what a proper monetary reimbursement for their troubles should be. Once again, anyone with experience contribute to revising this to perfection as I think it would be of great use for many people to have a straight forward guide on how to work with a vocalist. Thanks.