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HOW TO GET THE EARS OF A PRODUCERToday’s great producers & engineers share practical insight for musicians who want to develop their listening powers

THE VINTAGE MUSICIAN

How to Get the Ears of A Producer

!!Welcome to our first short e-book from The Vintage Musician Magazine. !We’ve been hard at work interviewing luminaries from the contemporary music world on our site, but here are some special pieces which you won’t find at thevintagemusician.com – they come from other projects we’ve been working on.!This ebook gives you:!Our favourite quotes from leading Producers & Engineers on listening !Listen - An incredible story on listening by journalist Kathy Alexander !An interview with Divinity Roxx - Beyonce’s former bass player & Musical Director!!As a part of the ebook package, you will now receive our e-newsletters on leading content from today’s outstanding producers and engineers, including Grammy award winning Al Schmitt (Frank Sinatra, Bob Dylan, Dianna Krall, etc.) Each week we bring you insights on old-school gear, techniques, and new-school approaches.!!Gregory A. Barker, PhDCommissioning EditorThe Vintage Musician Magazine

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Top Quotes on Developing Listening Powers

!Is it possible to grow in our listening powers; to sense nuances that can change the direction of our music projects?  Our line up of pro engineers and producers say, “Yes!”. Not only this, they share insights on how to achieve this with some pretty important and memorable words.  We’ve chosen our favorite quotes from our audio-article inventory - we hope you enjoy these choice morsels from our friends at tannoystudio.com.!!You don’t learn how to record by listening to albums – you learn in great acoustical environments. Listen. Be aware.  See what moves you. Bruce Swedien, the man who recorded Michael Jackson’s Thriller !!If you’re unfamiliar or unsure about the reproduction in your room, find a recording that you can use as a reference on a daily basis. Tony Maserati, who has worked with Lady Gaga, Beyoncé, Jason Mraz, Pink, and many others. !!What you really need from your monitors is honesty – a good monitor is a microscope that reveals the “pimple” in your sound so that you can deal with it in the mixing process. Elliott Randall, legendary guitarist (Steely Dan, The Doobie Brothers, Carly Simon) !!

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In a studio, the recording space is acoustically well balanced—it’s “dead” enough without it being too “dead”. In this kind of space a multi-pattern mic can be set to omni-directional; the singer or instrumentalist can get close to the mic and have an intimate sound without the result sounding smothered or clouded. Bill Gibson, author of more than 30 books and videos about audio recording and live sound. !!I really encourage people who are starting to do their own mixing to listen to their mix on as many speakers as possible. It may sound great on the huge studio speakers you have, but then test it out in the car – are things translating well? Tristan Leral, producer and engineer from major artists to television commercials. !!When building a great music recording and mix, equalization should actually be your last line of defense. Begin by finding a better sound. Microphone positioning is a much better solution to frequency problems than EQ. Bruce Swedien!!You can develop your ears by having a decent system and listening to music. Don’t rule out listening to classical music. Listen to all kinds of music; dissect it, step back and consider what you’ve learned. Al Schmitt, 23 Grammys; he’s worked with Jefferson Airplane, Eddie Fisher, Glenn Yarborough, Jackson Browne, Neil Young, Willy DeVille, Dr. John, Frank Sinatra, Ray Charles, Diana Krall.  !!

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Listen. by Kathy Alexander

!One grey Monday morning in September, a class of sleepy audio engineering students filed into their first day of Mixing 101. Many of them had that “zombie look” people get when they haven’t quite recovered from the weekend’s pub crawl. Their instructor introduced himself and quietly swiped through some tracks on his phone. He played one through the sound system and asked them to identify as many distinct sounds as possible. They immediately recognized the famous intro lick on guitar, and could identify about six instruments: drums, bass, two guitars and lead vocal with harmonies. They also noticed the keyboard solo in the middle. For the rest of the term, they listened … and listened. The instructor helped them hear more detail in recordings than they had ever heard before. !

On the last day of class, the instructor played that same recording from the first day. This time, the students felt like Neo in the blockbuster movie, The Matrix when he sees g l o w i n g g r e e n c o d e o n everything. They perceived a world of detail they had missed

before. They could easily identify each individual component of the drum kit, including a tambourine that they didn’t notice the first time. They could estimate the size and type of the tom toms, snare and cymbals. They realized that not one, but two instruments backed that opening guitar solo. They could hear a tremolo effect on the electric guitar and what today would be called a vintage reverb sound on the voices. There were more vocal harmonies than they previously thought, including “oohs” in certain sections. They noticed the absence of pitch correction — many thought this was refreshing. The most startling detail was the panning of the vocals: all the vocals were on the right! What? How did they not hear that before? The keyboard solo stumped them. They couldn’t quite figure out if it was an acoustic or electronic instrument. This was an old recording, so how did they get that sound back then?!The famous producer, George Martin, was behind that keyboard sound. The recording was “In My Life” by the Beatles. The instructor congratulated the students for their astute observations and explained that George Martin himself

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They perceived a world of detail they had missed before.

had played the keyboard solo on a piano. He recorded it at half speed, and then doubled the speed in the mix.!Before taking the class, these students could pick out half a dozen sonic details in the recording. Now they could perceive almost 20 individual instruments and vocal parts, plus effects and recording techniques. The students realized how much the class had transformed them — more specifically, how it had transformed their listening.!The many world-class audio experts I have interviewed have spilled their guts on everything about audio gear and how to use it, but the one thing they can’t give you through the transcript of an interview, is their finely-tuned listening skill. It’s not expensive gear or software that makes music sound great. It’s the listening ability of the one who operates it. Every audio decision comes down to listening. Never on autopilot, a good sound engineer listens with fresh ears and responds differently to each situation. Our audio pros gave us great information, but it can only be of use to you if you take your listening to the next level.!If you can perform well, your listening journey is already well under way. Every time you sing in tune, or balance your guitar’s level with other instruments, you are using perceptive and active listening. To step it up even more, you are going to use that same skill, but with a focus on new and different sonic qualities.!Any time you are the lead vocalist, or take a solo on your instrument, you are leading and shaping the arc of a song. The audience’s experience is in your hands - you are the storyteller. Whether you are a singer or guitar player, your instrument is your ‘voice,’ and it will impact the audience all the more powerfully when you harness audio technology. !your own sound. your amplified sound - It is not always easy to hear yourself while other instruments are crowding the soundscape. Many great artists can tell you about sound checks, setting your level, and how to get good monitor mixes. Those same artists, however, have an almost telepathic ability to hear themselves under even the worst conditions. You can get there too, with listening. !Being able to hear the sound of your own amplified voice or instrument can be a complicated matter. For singers, there are actually three versions of your voice. First, there’s the one that resonates inside your head. People are usually shocked the first time they hear a recording of themselves due to the absence of this in-your-head voice. The second version of your voice is the one your ears pick up from the outside as it comes out of your mouth and bounces around the room. The last version of your voice is the one coming from the speakers or

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headphones — your amplified voice. The reason it can be so hard for novice singers to hear themselves properly is that they haven’t learned to locate the sound of their amplified voice amongst the interference of the other two voices not to mention the cacophony o f mus ica l instruments that back them at any given moment. For those who p lay acoust ic inst ruments , amplification affects your tone,

which means locating your amplified sound in the mix can be tricky at first. Electric guitar players and others who play instruments that make little or no acoustic sound will find this easier, because they accustomed to their own amplified sound.!Locating your amplified voice or instrument in the headphones or speakers requires focussed listening, which means you can’t just stand there passively expecting your sound to knock you over the head. Your level must be audible, of course, but the rest is up to your ears.!Tuning in to your sound will not only help you monitor yourself more effectively, and therefore perform better, but it will also help your mic technique. This applies mainly to singers, but it matters to any acoustic instrument being picked up by a mic. Have you ever figured out what the proximity effect actually sounds like? Can you perceive the subtle change in tone as you come in close and then back off your mic? Have you tried to use mic technique to make your solo more vibrant? I have observed masterful singers in front of a recording mic and the subtle turning or pulling back of their heads as they sing. I like to call them “human compressors.” Only listening will let you develop these skills for yourself.!If you practice or perform a lot without amplification, then how do you get better at this? How do you get better at picking out your amplified sound in the mix and hearing the proximity effect? Get your hands on some audio gear. I don’t care how much of a non-techie you think you are. If you are serious about performing in contemporary genres, then you simply must have a sound system at home and a way of recording yourself — no matter how basic it may be. Do you have a live vocal mic? Who cares if it is not perfect for recording! Get yourself an audio interface, some recording software, a computer you can use, and start experimenting. Alternatively, go for an all-in-one vocal effects box into

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…you can’t stand there expecting the sound of your voice to knock you over the head

which you can plug your mic and a powered speaker. Anyone who plays electronic instruments will already be used to messing with audio gear, but you too, must always experiment at home looking for ways to get the tone and expression you want through your audio gear.!With some basic gear at home, you can figure out what audio processing and effects sound like, and more importantly how your unique tone sounds under their influence. With your own gear or software plug-ins, you can learn to hear what compression does. You can listen to what different reverbs sound like. Electric guitar players know all about this. Sometimes the easiest way to hear a certain effect is to crank it to the max; then you can go, “oh, so that’s what too much high end sounds like.” Listen to the balance of your sound against a backing track. Record yourself and listen for your mic technique and/or effects and EQ. This experimenting will let you hone your musical skill, teach you how to hear more details in the soundscape, and let you develop your signature sound. The subtle influence of your mic, the vibe that comes from your particular reverb — these are all things that you will learn to hear, and then use to bring out the uniqueness of your sound !Next on your listening journey is to give yourself a goal every time you listen to music. Try listening to one song multiple times, each time focussing only on one instrument. Try focussing on two instruments at once. How do they fit together sonically speaking? Listen for the effects on the vocal or solo instrument. What part of the tone is natural to that voice or instrument, and what part is heightened by the effects? When you feel an emotional response to the song, try to figure out which audio processes contributed to that great moment. !Don’t take all this on by yourself. Lean on the listening insight of knowledgeable people. When you find an audio-savvy person who you can lean on for advice and help, do everything you can to show them appreciation and kindness. When I found my audio-savvy person, I married him! My husband was a professional audio engineer for many years, and as a singer, I have enjoyed excellent live sound and monitor mixes thanks to him. I am at a place on my own listening journey where I still find it hard to hear the subtle influence of the recording mic on my sound. I know the right mic can highlight my voice better than a different one, so I lean on my hubby to help when I need to choose one. Whenever we go to a concert, whenever he is mixing a recording or whenever he does live sound for me, I ask questions. I try to tap into his superior listening skill, to help me understand and develop mine. How did they get the guitar to sound like that? Why did my mic feed back? Was it just me or was there way too much reverb on that vocal group? We often go over to the sound booth and spy on what gear they are using at a live show. !

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Engineers and producers have the most skilled ears of all, which means even with your improved listening skill you will still use these pros on your important projects. But never forget: no matter how skilled others are at listening, you are still the expert on your music and your message. Those pros can help you get the sounds you want much more successfully when you are able to communicate a clear vision that includes details about the audio processing and effects you desire. !

It is amazing how many of the sound engineering experts we spoke to all said the same thing: emotion in a performance — recorded or live — is far more important than technical correctness. Our experts would not even begin to talk about technology until they made something very clear: an authentic delivery of the song is required before you even consider what technology can do to enhance it. When you listen to your vocal, improvised solo or lead line, the most important question you need to ask yourself is, “Does it make me feel something?” Without passion and truth in your delivery, you can’t have a great recording or a great show — no matter how perfect it is or how many audio tools you employ. !As a contemporary musician, you know how powerful the influence of audio technology is on your music. You know that the right audio processing can heighten the impact of your song and allow your passion as an artist to reach your audience more effectively. Every time you listen to your own recordings, open your ears to the sound, and ask yourself, “Does every element of this song, including the audio processing, help to bring out the emotion and message I intend?” !Anyone would agree it would be silly for a drummer not to learn how to play the ride cymbal - to let it sit there, unused. The ride cymbal is a crucial part of any drum kit and one of several pieces a drummer uses to express his or her creative ideas. Audio tools are no different to a singer, violinist, saxophonist or guitar player. Learning to hear and understand the world of audio is like learning to play an essential part of your instrument. Your listening journey allows you to claim maximum creative control over your art. Harness the power of audio. Do it by listening.

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…no matter how skilled others are at listening, you are still the expert on your music and your message.

! !

Kathy Alexander (editor) is a staff writer at VoiceCouncil Magazine, the premiere on-line publication for gigging singers. Kathy is also a singer, vocal coach and choir director. Career highlights include guest appearances with Vision TV’s Let’s Sing Again, The Sooke Philharmonic Orchestra and the Victoria International Jazz Festival (main stage). She has gigged with the Doug Farr Quartet and her musical theatre credits include Wizard of Oz (Glinda) and Guys & Dolls (Adelaide). She has directed numerous choirs, musical theater projects and choral performances. Somehow she manages all of this while being the mother of three young children — including twins.www.kathalexander.com

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Learning the Producer Ropes !“I just wanted to be creative and not have to do much engineering. But it doesn't work like that” !Beyonce’s former lead Bass player and Musical Director, Divinity Roxx, captivates audiences fronting her own band while simultaneously playing bass guitar. At the same time, Divinity is constantly creating her unique brand of energetic music that crosses genres and excites fans across the world. We asked Divinity to share key learning points as a creator who has stepped solidly into the world of sound production.!!

What’s the best piece of recording or mixing advice you ever received?Listen to all different types of music. Learn to identify the different sounds in each song and where they sit in a mix. See the mix in your mind.!What were some key albums and discoveries in your own journey?Dr Dre’s The Chronic was one of those albums, because...well, I don’t know how to describe it in words except to say that you can see the colors, you can see the sounds as they’re happening.  You can hear where they have certain instruments and where everything is sitting – where Snoop’s voice is sitting, versus where the bass line is, and the beat, and all those really intricate little samples that he has going on in the background.  You would think that all of those sounds would cloud the song but Dr Dre is able to give a space to each one of those instruments so that the song is enhanced. You have a little rhythmic hat or something to the left and down, in the mix – you can almost see it!!!

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What's something other than monitoring that saves time, money and leads to great sound?Treating the space acoustically.!Is there an audio lesson you learned the hard way?It’s so elementary I almost feel embarrassed to say it, but I would never EQ anything in the beginning when I would make a track. I used to leave all the engineering to the engineer when I made tracks and recorded my vocals, but my songs were never coming out like I intended. I didn't have the proper knowledge of EQ or Compression or the importance of choosing good sounds or know the difference the quality of a sound made in the overall sound of a track. I just wanted to be creative and not have to do much engineering. But it doesn't work like that. A really good producer is well versed in sound engineering.!Let’s unpack that a little – what were some of the early steps you took to understand sound?I wanted to be creative and create this music that I was hearing in my head, so I got Pro Tools and I had an MPC, and I had sounds. I started putting these sounds together, and things were sounding cool, but it would never come out the way I was hearing it in my head. I would take these tracks to the studio with engineers and they would immediately start EQ-ing, compressing and putting things in their place, and it would almost sound like a different song.!How did it feel to have others change the sound of your music?Sometimes that was good, and sometimes that was bad. Or they would say, you know, ‘this kick doesn’t work’, but there was something about the quality of the kick that I really liked. But once they EQ-d the kick, I could hear the noise in the kick drum or snare or something, and say ‘yeah, I get what you’re saying...’ Yet there was still something about the tone of it that spoke to me, and when we would replace it, not being able to capture that same feeling would take something out of the music.!How did you find your way to greater sonic know-how?My engineer Eric Racy always says, you have to have foresight and realise ‘okay, if I use this kick drum, what’s the end result going to be?’ - thinking forward like that. I never wanted to think like that, I just wanted to be creative. The one thing I realised is that these producers know what they’re doing.

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They’re not relying on another engineer to take their idea and shape it into what it should sound like. They start off knowing what they want it to sound like.!You’ve mentioned EQ – but what about learning about compression? How did you achieve this?It’s really just to keep playing around with it; sometimes listening for compression can be such a subtle difference in a sound or a tone that we don’t even think that it’s important to use. But over the years, I’ve been watching different producers, and listening, and starting to learn how to effectively apply compression to different sounds.!It’s easy to fall into the trap of over compressing...There were times when I was over-compressing everything, and really trying to find the balance between the two really requires practice. It helps to compare your stuff to other people’s stuff, and listen to the difference between what you’re doing and what you’re hearing from people who are successful, and who you look up to. Even as a bass player, as a musician, that’s what we do – we listen and we emulate the other musicians and artists that we want to be like from the beginning - until we’re able to create our own tone and our own sound from our instrument.!Any final advice to musicians who are just about to step out into the world of recording and mixing their own projects?Research as much as you can about the process of recording. Whether it be live instruments or virtual instruments or vocals, there's plenty of info on how to get the best out of the equipment you have. I'm still learning, still watching tutorials, still reading articles about how to improve my ear and improve my sound. I'm still developing my ear and working to be a better producer.!Divinity Roxx joined Beyoncé’s all-female band in 2006, as musical director and bassist. Other artists she has worked with include Kanye West, Jay-Z and Destiny’s Child. She has also appeared on countless television shows including The Grammys, Saturday Night Live, Oprah and David Letterman. Divinity shines brightest, however, in her solo performances. As a rapper and singer, she packs a powerful punch. Her second album, The Roxx Boxx Experience, is the ultimate mash-up of hip-hop and rock, featuring appearances by Bootsy Collins and Killa Mike and including the killer singles, “Black Betty,” and “Get Here,” which won 2012 Best New Video at California Int’l Film Short Festival. Divinity is also a contributor to The Ultimate Guide to Singing. See: www.divinityroxx.com

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Issue 1, 2015

© 2015 by The Vintage Musician Magazine

www.thevintagemusician.com

!All rights reserved. No part of this publication may be reproduced, stored in a retrieval system

or transmitted in any form or by any means: electronic, mechanical, photocopying, recording

or otherwise, without the written permission of the publisher. Permission requests should be

submitted to editor@voicecouncil.com

!Listen reprinted by permission of Kathy Alexander

!Top Quotes on Developing Listening Powers reprinted by permission of Gregory A. Barker

!Learning the Producer Ropes reprinted by permission of Divinity Roxx

THE VINTAGE MUSICIAN

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