If you want people to buy it, it has to meet with people's expectations of quality, i.e. If you were to think about it in business terms, you are creating a product. But let’s take a commercial perspective for a moment. It would be easy to wax lyrical at this point about music for music’s sake, and it is a valid point, if rather well trodden. It depends on how much you value what you are doing. And, by delegating the act of producing your record, you can concentrate on writing and performing to the highest possible standard. This is no accident, excellent music is always as a result of collaboration. I am fond of saying that, if you look at the list of credits on your favourite album, you’ll find that it’s a mile long. But, if you want to make the best possible record, then, at the very least, an extra set of impartial ears will seriously help. We want to bring some of these sensibilities back into the modern era of music production. These mostly record-company-owned studios were real hubs for musicians and production staff which led to much collaboration. There were far fewer studios (equipment was eye-wateringly expensive) so quality control had to be high. In what many sound engineers would posit as the ‘golden age of recording’ people would take their time over recording an album in a well specified facility. And it is this single idea, and our collective desire to make really good music, that has led, quite naturally, to us redefining ourselves. Indeed, the true meaning of music production. It’s a complete artistic process, everything from asking who your audience is, through to writing vocal harmonies appropriate to the style of track. It didn’t take long to realise that producing good music is little to do with your gear cupboard. In the first week of operation I took on Joe for work experience and his enthusiasm for hard work and his sponge-like nature for all things audio hasn’t worn off. Having spent some time with Blake by this point I knew I could put my trust in him to spec and wire my studio, and so my love affair with vintage audio and strange records began. I’ve known both of these good friends of mine for over 10 years now.ħ years ago I set up The Cowshed, the aim being to bring industry recording processes within affordable reach of musicians starting out. Well, we are three: a producer (me), an assistant ( Joe) and a very well known studio tech ( Blake).
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