PivotPointMusic

This is a tricky topic. First of all, the best approach is to hire a professional mastering engineer and ask if you can shadow him/her while they master your music. They'll show/tell you: 1. tricks that you didn't think to do yourself (multiple levels of A/B monitoring and referencing) 2. where you're making mistakes in your recordings 3. how you can improve your mixes After you get a feel for the process, you can branch out on your own with much better results. My chain is typically: 1. Subtractive EQ (remove any conflicting frequencies - think lower mids) 2. Moderate compression (-2 to -3 dB of fast gain reduction at the peaks) 3. Slight high end boost (newer releases are bright!) 4. Multiband limiter 5. Secret weapon: DeEsser goes last - focusing on reducing the 6K to 8K sibilance. Those are the ugly peaks that make homemade recordings sound brittle/digital.

Hey Rich, I listened to Forgiveness. I'd have to say that my first impression is that the song is pleasant. You have a pretty good understanding of the recording process and the instruments don't fight much with each other. The mix is a little "boxy." Too many low-mid frequencies in the bass guitar are a culprit. You might want to scoop some 250 to 400 Hz out of the bass and then boost your kick drum a bit. In general, I'd lose the brass and play that part with a guitar or synth. It sticks out to me - I liked it at first but it needs more musicianship. The long legato notes don't have much flavor. I'd say that since you have a really good idea of the recording process, you might want to focus on going for a more unique sound. Just a suggestion... maybe reverse a part, add some fills, special effects, guitar solos, vocal samples, loops, ect. Just a little more sizzle. Other than that, good stuff! Anyway, what kind of monitor speakers/headphones do you use? Are you mixing in a square or rectangular room with parallel walls? Thanks - Rob

Hi Nightwolf, That's a good point. It really depends on how you approach the topic. The reason why you typically need to speak to someone in legal is that producers and program directors usually don't have much say regarding contract specifics. They know their budget and their needs and that can be the extent of it. The larger the network or label, the less internal communication they have and the less likely that your contact will have any ability to negotiate on your behalf. That's why it's easier to simply speak to the people that have decision making ability. Requesting to speak with the legal department is the last step you take after you know you've secured the gig. I suppose it could be looked at as a strong-arm tactic but look at the alternative. You could either wait to be paid for 120 days (which has happened to me more than once) or you could insert your payments terms into the very one-sided contract that you'll likely be signing. It's all about being diplomatic and assuring that your invoice is paid in a timely manner. Plumbers don't wait 120 days and composers shouldn't have to either. Thanks for your reply!

Hello fellow musicians, I'm new to the forum and I want to recommend a technique I've learned while negotiating contracts for music composition. It's simple: request payment terms be put in writing! I've been writing music for film and TV for about four years and I've learned the hard way that it takes a really long time for big networks and labels to pay what they owe their composers. There's basically no standard time frame for paying subcontractors. Some networks will try and trick you into signing a "contract" that pays you quickly through their payroll system. Don't agree to this. If you're using your gear and not getting any benefits - you're not an employee and you'll be kissing all your rights goodbye. Others might tell you that they have a "standard" contract that they can't change. This is called a boilerplate contract and it's been drawn up by savvy lawyers to protect the best interests of their client. These contracts can be changed - and it's a simple process. Call someone at the legal department and make a request. You'll typically be put in touch with an in-house legal counsel that most definitely has the power to change service agreements. You'll get paid way quicker if you name your service terms and (if you're diplomatic) you'll have made another good contact at the network/label. Thanks for reading and I look forward to any replies - Rob