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November, 2006
 
Polish That Recording
A Quality Recording is a Quality Presentation by Mark Sarisky As an audio producer and educator, I receive dozens of demos from new artists each month. In the crazy world that is the music industry, the recorded demo is the calling card of new artists with the goal of "getting a deal." Most new talent feel (unfortunately, quite naively) that by securing a recording contract with a significant major or independent label, success will be guaranteed. To reach this goal, many musicians figure all they have to do is send off their music to a label or established producer and a recording contract will come their way shortly. However, very seldom is this approach successful. The biggest reason that many demos are rejected "out of hand," gleaned from my experience and A&R representatives and producers that I have regular contact with, is that the material on the demo is poorly recorded. A quality recording is a quality presentation. I have always worked with the mantra that "I don’t make demos, I make finished product." This is the approach that not only will present your material in the best light; it will indicate to the listener that you are serious and professional about what you are doing. Demos have a purpose, but if your goal is to attract the attention of a major or independent label, give them a PRODUCT. First of all, spend the time needed to polish the sound of the recordings. Many demos that cross the desks of A&R reps sound as if they were thrown together over a single evening. It is not enough to have great songs if the recording is so filled with flaws that it puts the listener off. Remember that listening to music is an emotional experience. If the listener is annoyed by the lack of musicianship or by glitches and noises in the recording, they are not going to warm up to your material. A live performance is fleeting, but a recorded performance can be put under the microscope over and over. Recordings last forever and so do the flaws in them. For solo performers who envision their work performed in a band context, working with a producer can help you flesh out a recording by arranging your solo tunes for a small ensemble. The producer should also be able to provide the musicians needed to record this arrangement. With the advent of low-cost home recording equipment, the artists themselves record more and more demos. Sure, studio time can be expensive (although studio rates have been steadily dropping over the last 10 years), but just because you can record at home doesn’t mean you SHOULD. If you don’t have the chops, go to a recording studio where they have the experience and the talent to bring out the best in your music. It is better to spend the money to record one or two songs with a high level of quality than to present an hour of poorly recorded material. Just because you bought Pro Tools does not make you a professional recording engineer. Ears take years of experience to develop. There is a real talent to making quality recordings. If you are a band trying to crack the business, make sure that all the members are competent. Your sister’s boyfriend might be a great guy, but if he is also your bass player he has to be able to play! And perform at a level worthy of the music you are trying to get across. If you are a solo artist, use the best studio musicians available to fill out your sound. For solo performers who envision their work performed in a band context but need help in realization, working with a producer can help you flesh out a recording by arranging your solo tunes for a small ensemble. The producer should also be able to provide the musicians needed to record this arrangement. I find that jazz musicians make the best studio cats. They can read music and improvise—two skills that, as a producer, I find invaluable in the studio. If you can afford it, get your demo mastered. This is not a deal breaker, but it can add an extra level of professionalism to the demo recording. Have the mastering done by an independent engineer who specializes in mastering work. Very often, the recording engineer, producer and artist are all too close to the music by the time it is recorded, mixed and mastered. This is why a good mastering engineer is so important. You should think of the mastering engineer as a quality control check by fresh, skilled and independent ears. A recording is a chance to have someone listen to your art. Just as a painter would make sure that a gallery displays his works under proper conditions to bring out the best in the paintings, make sure that the presentation of your recorded material puts it in the best light. Mark Sarisky is a Gold and Platinum record winning independent producer and engineer and is the director of the University of Texas at Austin Recording Technology Program. He is also on the Governing Board for the Center for American Music. Mark is based in Austin, Texas. |