GregB

My albums (2002, 2015, 2020, 2021) have all been distributed via CD-Baby. One benefit has been that all stats are consolidated via one set of reports. But recently the numbers have become increasingly wacky. As of the end of July 2022: my top two tracks by far are instrumentals the top platform by far is Tik-Tok (!) the top 'listener' countries by far are all ex-southern states of the USSR, topped by Ukraine the top tracks are among my longest! (in order below: 5:02, 4:07, 5:49, 4:21, 11:01, 4:48) Agincourt and Last Post are spoken word tracks Go figure! Most of the Tik-Tok plays show ZERO payment (i.e. not even a fraction of a fraction of a cent!).

It also helps to be young, project 'sexiness', and be totally assured of one's self-worth. Counts ME out (old, bald, self-critical) Anyone else?

Hi John. My heart always sinks when "genre" is discussed. The categories are far too confusing, and most overlap. I think there's only about 10, but the industry thinks there's between 50 and 1000. So ... what do YOU mean by the 'electronica' you're looking for? EDM? Anything with synths? Complete absence of acoustic instruments? etc.

Whooshka! Making a public statement of so many goals is a great way of staying focused and motivated. Congrats Looking forward to seeing/hearing results as they become available. Greg 👍

It's hard to believe that a multicam production is SO easy to do and leaves you totally in control. It is offered by all the front runners - Premiere, Resolve and Final Cut. It is especially easy to contemplate when we all have multiple high quality phones, either from friends/family, or the devices we've recently replaced and are simply lying unused in a drawer! Full HD, 1920x1080, has been standard in phones for close to 10 years! Here's an example done in Premiere (before I switched to Resolve). It used: My Samsung phone for the close-up on me (unfortunately the lens wasn't clean!) Martin's iPhone for his close-up My Canon 70D DSLR on a tripod for the wide shot A Zoom stereo field recorder on the corner of the table between us (camera audio is still poor by comparison). You might prefer to record directly into your DAW via one or more mics. NOTE - ensure all cameras are set for the same frame rate. 25fps works well as this is the YouTube standard, but anything is fine as long as common to all. I used the traditional hand-clap to provide a sync point all four audio stream being recorded ... the spike in the waveform is easy to identify visually in the editor and line up manually if needs be. This is essential when there may be several seconds between each device being placed in record-mode. But note that all editing software has the ability to sync the videos if they contain the same audio content, and it seems to do a good job. The hand-clap is cheap insurance! Once the 3 video clips were sync'd, I MUTED the camera audios and just used the file from my Zoom device. Depending on your taste, you may wish to process this audio (e.g. some EQ/Compression) in your DAW before importing into the video editor. (My example is the raw recording.) When selecting 'Multicam' in the editor, you are shown a window with (in my case) the 3 different camera views. Whilst playing in real time, or scrubbing through to specific points, you simply click the camera angle you want at that moment. The editor creates the new timeline with the clip/cut in place. You can go back at any time and edit those cut points, e.g. to change the chosen camera angle. More often, a cut point needs a dynamic roll to extend one clip and shorten the other. If I performed more, I would take this approach this all the time. It makes for a far more dynamic product. It also helps to avoid visual problems (e.g. an unwanted excessive flare in glasses, fiddling with a cheat sheet, or even a dog walking past) simply by switching the view.

Strange - I only saw this when visiting to start my own new post ... i.e. I wasn't notified of your new post!! The dolls in the "Fairytale" music video (https://www.youtube.com/watch?v=qvCkyuT6Dgc) were posed on and against a dark blue cloth and, because they were stills, the background was removed in Photoshop before being imported as PNGs into the video editor. I've only ever done video 'solid colour' background removal as concept demo-examples for friends and clients. The main things I discovered to save HEAPS of time are: the background has no sags/folds. Sheets CAN work but need to be pulled taught. the background has its own even lighting. If only using lights in front of the subject, then shadows will be cast on the background (requiring extra work to set the masking colour range, or require manual masking) be careful of colour reflections from the background onto the subject's hair/clothes, causing odd changes in subject outline. John, from memory, you use Premiere? If consistent background colour is an issue, Resolve has a very quick/easy way of selecting area masks. Find the most problematic frame, draw a line through an area (and expand with other lines if not complete), and then tracking the mask back and forward. Unsure if this is available in the free version.

"Guilty Pleasure"? No such thing. You like what you like. Who cares what others think!

There are far more audio tracks in the world than there are music videos. So videos, just by existing, can help draw attention to your work (and you, if desired). Music videos are held in high regard by the Songstuff site. A club dedicated to music video making is available to all Members and is a good place to discuss creativity, hurdles, successes, and technical processes, tools, costs and skills. (Be aware that Club Posts may NOT appear in the Forum listings depending on the the Forum 'view' format being used!) All Members involved (or wanting to be involved) in video production are welcome to join.

Hi John I’ll offer the following four with videos (out of 50+): Fields and Sunny Skies: https://www.youtube.com/watch?v=tdql1tbRoqM - My first song and first recording (2002), re-recorded here (a cover) in 2021 The C-Bomb: https://www.youtube.com/watch?v=laI4VpOutds - My strongest environmental statement Remote: https://www.youtube.com/watch?v=Q_KIu46rfxI - Short-Film Score Old Love: https://www.youtube.com/watch?v=BvbuJHLYxzk - My shortest and simplest song

Hi Heyboardcoach521 If "How many of you ..." seeks an answer (rather than a discussion), you could create a poll. People may prefer clicking buttons to formulating long-form responses.

Hi GP. My Takamine 12-string sounds full and bright in real life and, at the start of any album recording, I load new strings ... D’Addario EJ39 (Phosphor Bronze, Medium Gauge, .012-.52). 95% of my songs are acoustic guitar-centric so I always record two tracks simultaneously ... DI (full sound via the Takamine piezo under-bridge pickup) and condenser Mic (for atmospherics like string noise). Both are EQ'd a little differently, have about 3db compression reduction, and are panned about 45 degrees Left and Right. The EQ and Compression are via ProTools' stock plugins.

As with everything else in this crowded world of music, all you can do is put stuff out there. Even on this specialty site, no one can listen to (or even like) everything that is posted. I really appreciate you taking the time to listen, and even more time to write a response 👍 Greg

Here is the promised cover of David Gilmour's track On an Island (2006) from the album of the same name. I met Martin Hale out of the blue in 2014 here on Australia's Gold Coast. The same age, retired, both from the UK, and with the same sense of humour, we got on well (and still do). We share many of the same musical influences but, as he has played in bands all his life, he is more ensemble rock, and I am more solitary folk. It was the first time I've ever played with someone who can do tasty lead guitar! The sparks led to us releasing our debut album "Prescient" in 2015 which we wrote, performed, and home-produced ... he did his tracks on Logic, I did mine on Pro Tools. While totally self-contained in our own home studios, we helped each other scale the DAW steep learning curve. For On an Island (a project instigated by Martin), I created the timeline/framework and supplied the backing (12-string, bass, organ and drums). My guitar was recorded simultaneously on two tracks, DI and Mic, for extra sonic oomph, and the hardest task was playing in time accurately this S-L-O-O-W-WWW. I also provided a guide-only vocal as it is at least two semitones too high for my comfort zone! I sent Martin the components as unprocessed stems as well as MIDI files (in case he wanted to substitute instrument sounds). He then mixed the tracks and laid on the lead guitars parts and the final vocals. Again, the main benefit of doing this together was to have TWO sets of ears ... one often heard issues that the other person didn't. Audio-only is here:

Graham Cochrane from Recording Revolution is the reason behind my journey in home production, starting in 2015. His YouTube tutorials gave me confidence (in fact, it is his mantra) that budget gear and stock plugins can produce a fantastic result.

I addressed this topic a couple of months ago, and posted a downloadable breakdown of the things I've done. I've given costs and metrics wherever possible, the key being that all was done ultra cheap!!

My tie for most 'listens' are ... ... but I'm highly sceptical as these are both instrumentals and both had their highest numbers via Tik-Tok. So, even if real, I take no satisfaction for 'success' as I don't regard Tik-Tok as a platform for music lovers! By comparison, with less than 2000 streams/views, "Old Love" is the one for which I've received the most 'appreciation' from family, friends and strangers alike. Oddly, it was my least try-hard in every aspect of writing, structure, performance and production.

Hi John. You didn't supply any answer to your own question?

A lovely song in your signature style that explains the large number of streams. PS. I'll have whatever THIS guy is having ...

A really slick/professional sound 👍

Hi Greg M It'd be useful to know how the individual components sound on their own. Your topic title suggests that you are singing against a pre-recorded complete arrangement? If so, I'd suggest the following: provide an MP3 file (just one minute would suffice) of the unprocessed (no EQ, reverb, compression etc,) of: the arrangement your singing (unprocessed) repost in "Music Production and Recording" and ask Members to: comment on the raw materials possible ways of processing them, and post example results with explanations (e.g. EQ maps) I would find this a quick fun challenge with only two 60-sec samples. Cheers, Greg B

The 70’s Oh, let the sun beat down upon my face, and stars fill my dream I'm a traveller of both time and space, to be where I have been To sit with elders of the gentle race, this world has seldom seen They talk of days for which they sit and wait, all will be revealed Led Zeppelin - Kashmir Modern It's 10 years later now it's 3OH!3 on Friday I'm sick of living through these Monday, Tuesday, Wednesdays But then Thursday comes along and we are saying "Friday! Here comes f*cking Friday!" Rebecca Black - Friday

I'm slowly emerging from emptiness, the creative black hole that (for me) seems to follow an album. First off the ranks is a cover of "On an Island" by David Gilmour, which will be ready in a few days after a 6-month gestation. The delay is testament to so many other fun demands on our time and also an increasing propensity for being lazy! Martin Hale was a complete stranger when we first met in 2013/14. After aimless but enjoyable jamming for a year, we suddenly embarked on an album together ("Prescient", 2015). While everything was attributed 50/50, we wrote, performed and home-studio produced our own songs. We've maintained a good friendship and Martin has kept popping up with his cover projects ... the latest being a collaboration on Cream's version of "Crossoads" (mentioned in this Forum, Jan 1, 2022). I'm so fortunate to have found someone on the same wavelength ... not only do our Venn diagram circles overlap a lot, but he is the only person I know who can do great lead-guitar solos. I've always wanted to have a go at 80's synth, and this was rekindled listening again recently to Jeff Wayne's "War of the Worlds". Specifically The Spirit Of Man (DubUlladub) which uses the original vocals mixed in a new dub-step groove. The musicality and execution blows my socks off. As a result I'm now working on a remix of "Running from Red" from our 'Prescient' album and, if it works, we'll tackle the other tracks. However, my intended EDM/electronic approach has proved to be beyond my ability. After days lost in the wilderness, I've backtracked and am doing a more mainstream re-interpretation. It's strange re-opening and listening to the old ProTool sessions on which we cut our production teeth. SO MANY poor edits, dodgy EQ and compression settings. It's a miracle that the results got through our vetting process. Just goes to show that you have to work hard to completely f*ck up a recording/mix Now, applying experience from 52 subsequent tracks, the new sketch version already sounds cleaner and punchier using just the original guitars and vocal. It will also be an exercise in using my upgrade to EZ Drummer 3. I hope to post a finished track by late July along with the original for reference. Greg

😞

I've never had the motivation/desire to practice singing, and my pre-recording 'warm up' is a once-through. I am a quiet person. I took up trombone and then clarinet in my 20's. I got to a pleasing level with both but came to understand there was some sort of weakness in my throat ... almost like a valve popping when pressure got too high. I gave up on both. On the rare occasions I'd go to sporting events or pop concerts (lots of shouting), I'd lose my voice several days afterward. Singing in public for three hours gigs also always took a serious toll. So I've never had a strong/forceful voice and I've not performed in public now for at least 10 years. I never sing around the house. I only sing when recording, and probably more so when developing a new song to ensure: the melody gets nailed down and is within my limited vocal range (rather than humming, la-la-ing or playing an instrument) that the rhythm/stresses of the words and syllables work with music there are spaces to breath the words feel comfortable when sung, and I can pronounce them clearly I only sing on my own albums through sheer lack of alternatives (who else will do it?). When recording: I'll sing through the whole song once without recording to ensure I still remember it and can do it. The computer being on is like having a searchlight and guns trained on me! That single run-through is fine for not wearing out my voice I then track my vocal twice only, singing either: all the way through section by section or, occasionally, phrase by phrase if difficult if I can't do it in two takes, a hundred takes won't make a difference I've never done more than one song vocal in a day. There's always editing and mixing to do and I'm not recording full time anyway. The gap of 1-5 days really helps preserve what little vocal strength I have. Comping from just two performances is relatively easy. In the early days I tried comping from five of six takes but the permutations of listening/re-listening was time consuming ... and frustrating ... especially when I still can't nail it ... so why bother? By contrast, judicious use of manual editing with autotune is effective and quick. The downside is that I don't (and can't) sing with passion, and there is little light/shade or sizzle in my delivery. The upside is that I get things done. I'm a harsh critic, so when I stop wincing at my own vocal performance, I believe that 'good enough is good enough'. And I probably concentrate more on arrangement/production to compensate. Greg