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  • Studios 301 Electronic Music Competition – Archie Central Station Records and Tinted Records

    Studios 301 Electronic Music Competition – Archie Central Station Records and Tinted Records

    The Studios 301 IS IT A BANGER? Electronic Music Competition is back for 2017! Since we’ve gone straight to the source this year and enlisted some of the industry’s most respected names as part of our ultimate prize package, we thought we’d give you the opportunity to get to know them a little better.

    Meet Archie.

    Archie is the head of A&R for Central Station Records. He is responsible for signing the likes of Bombs Away, Odd Mob and Starley.

    Studios 301: Can you give us a bit of background about you?
    I’ve been DJing & producing music since I left high school, however these days my focus is more toward the A&R role that I do for the Central Station & Tinted Records. I also manage Odd Mob who are one of the key artists on the Tinted imprint.

    Studios 301: What do you think about the prize package and the winners opportunity?
    Impressive to say the least, money is always a great prize but in this case the opportunities on offer are priceless.

    Studios 301: What’s your involvement?
    We are the label releasing the winner.

    Studios 301: Why did you want to be involved?
    I think it’s a great way to discover new talent and personally I think it will be a really interesting and fun process.

    Studios 301: What are your thoughts on local talent and developing it?
    It’s hugely important to be developing local talent, not only from a label perspective, but also when you look at what Australian music as a whole has contributed to the industry worldwide. There is so many Aussie’s killing it here and abroad which is such a great thing to see.

    Studios 301: Anything else you would like to add?
    Big ups to 301 for putting on such a great opportunity!

    Odd Mob – Is It A Banger

    For more information on Central Station Records please visit:
    http://www.centralstation.com.au/
    https://www.facebook.com/centralstationAU

    To enter the Studios 301 Is It A Banger 2017 competition, please CLICK HERE

    bangers_enter now

  • The Studios 301 Podcast – E03 A Steve Smart 2017

    The Studios 301 Podcast – E03 A Steve Smart 2017

    Steve: Since moving to Castlereagh Street there has been some great projects coming through. One recently was for Dean Lewis – tracks, he has got a couple of hits out on the radio, prior to that we had done a couple new singles for him. It’s been really good; he’s got a great voice. What is the other stuff we have been working on?

    Simon: I remember you were talking a little earlier about Tash Sultana and being quite wrapped with her.

    Steve: Tash Sultana blows me away, she needs to move to a bigger venue like The Enmore because every time I try and get this here at the Newtown Social Club it is fully booked out, you can’t get in. She’s incredible.

    Simon: I think I actually saw she was playing at the Metro the other night.

    Steve: She could easily pack that out.

    Simon: Someone has been listening to you.

    Steve: Yes.

    Simon: Have you considered having maybe like a management company or an A&R? Steve Smart A&R and Management? And just industry advice.

    Steve: That would be great, get some cash. But since moving to Castlereagh Street the changeover from the Alexandria studio is open to the new Castlereagh Street, or I should say the old Castlereagh Street

    Simon: It’s a homecoming

    Steve: I got to explain it. The original studio is where EMI Studios 301 started from. It used to be eight floors of EMI, the mastering studios were on Level 7, the recording studios were on Level 8. So we actually left that building when 301 was taken over. I think it was round about 2000 when they built new studios in Alexandria.

    Simon: I think the opening date that I saw on one of the plaques around was the end of 1999.

    Steve: Right.

    Simon: They were tracking stuff for the Olympics.

    Steve: Yes. They started building it I guess the beginning of 1999 or something. So they built those studios just to be a bit bigger, because Castlereagh Street… although you could do a full orchestra there, it needed to grow because the music industry was changing. People required the use of smaller studios, not necessarily large studios. Record company budgets were changing, so 301 built a larger complex with a large studio but also satellite studios or smaller studios around it, which proved to be quite successful.

    And then after the studio opened in 1999/2000 mastering still actually existed in Castlereagh Street for I think round about another possibly eight years or something, I would have to check on the numbers and the dates and stuff like that. So we were still on Castlereagh Street for quite some time, and then eventually the acquisition was made of a building next to Mitchell Road in Alexandria and then we moved mastering over there; this was round about 2000, 2008, I would have to check on that.

    So we have been there for quite some time. Now what’s happened is I guess the gentrification of Alexandria; as everything, it is going to be turned into apartments. So 301, relocating once again and building a brand new studio just down the road a bit in Alexandria in Ellis Avenue which is going to be phenomenal. And I’ve seen the plans and what they are actually starting to build. I mentioned it was 45%, 50% completed, so we should be there I think probably September, October.

    But in the interim I am actually back at Studio 301, well, what used to be Studio 301, Castlereagh Street, which is kind of weird I’ve got to tell you. I’ve got all my new equipment that I had had in Mitchell Road in Alexandria, but it’s back in my old room. At first I was a little bit nervous about changing rooms, I thought, “Ah, this is going to be a little learning curve again.” We did the changeover where I said, “Look, just don’t book me for about a month or a month and a half, maybe even two months. I just really want to move in, get settled…”

    Simon: Make the place feel like home again.

    Steve: Yes. Just kind of re-understand the room again. Prior to leaving there I had done so many successful records in there that I knew it was a sort of no unproven entity, so I wasn’t that scared, but you always sort of got to readjust, resettle yourself to feel comfortable. So when we were relocating all the equipment we had a look around the room and, unbelievable, the marks, the impressions of the speakers from when we previously located there were still on the carpet. So we brought in the Duntech speakers that we currently use and the Duntech sovereign, the mastery monitors. We put them onto those impressions in the carpet, did a little fine tuning on the room and boom, it felt like home; it felt like I had never left. It must be like a riding a bike, you get it, you just understand it.

    And the familiarity I guess was having my equipment there and the speakers I know so well in a room that I had previously worked in. So when we started doing some work, I just did some test mastering stuff. I had a really good listen to them, took them home, really happy with the results. So I said, “Look, okay, let’s just go ahead, let’s just start booking in some jobs.” So we did a few jobs and the feedback was incredible, it was like, “Wow! This sounds great. The stuff coming out of Castlereagh Street sounds incredible.”

    I was pretty surprised that we were able to do the changeover pretty quickly and pretty seamlessly. All credit due to the technical staff that we’ve got; we’ve got Greg Cameron and Mo, and those guys just made the transition so smooth, it was pretty much just… And Harvey Sullivan, Mastering Coordinator Assistant, he went above and beyond the call of duty to make it as smooth a transition as possible. So I pretty much walked out of Alexandria, had Christmas, came back, sat down on the chair and started getting back into it again.

    Simon Cohen: It sounds like you sort of gave yourself the best opportunity to really make the transition smooth, again going to a familiar room and equipment-wise not really kind of changing too much.

    Steve: Yes.

    Simon: Did you find that… so obviously over the years between being there last time and being back there, would you say that your sort of go-to tools or the equipment that has become your kind of staple now, has it sort of changed over that interim or was it kind of familiar pieces returning home as well?

    Steve: No. Since first working at Castlereagh Street and then relocating to Mitchell Road, Alexandria, I have acquired a couple of more little tasty bits that I do kind of enjoy using.

    Simon: Anything you’d care to share?

    Steve: One of them would have to be my favourite, my go-to equalizer. It’s the Sontec Mastering Equalizer. It is pretty much a world standard in any quality mastering studio around the world; everyone’s got them. They have this incredible sound, they bring so much to the table as far as sweetening the song, bringing character into the song. All that said, I still have my trusty EMI TG EQs which are fresh out of… They were the EQs that were used on Abbey Road on quite a lot of the famous recordings of bands that worked out of that studio in the 60s. I can’t quite recall what the name of the band was, but it was a big one then. I still got the classic TG EQs, running some great converters there.

    I think a good mastering studio really needs just a really good set of speakers, good equipment, but most importantly a good mastering engineer. You’ve really got to understand the product; experience sort of brings a lot to the table there. We’ve got, I think collectively the mastering engineers at Studios 301 have over 100 years experience or something like that, which is a pretty awesome sort of calculus when you think about it. Both myself and Leon combined I think we’ve got over 60 years together as mastering engineers. We must have worked on… I guess if you are doing a record every day or an album every day sometimes you’re not. We probably have done hundreds and thousands of records.

    Simon: I suppose compared to the things that a lot of producers get a chance to work on, where it is days or weeks or even months spent on a single project, the idea of the mastering gig of sort jumping between projects kind of on a daily basis. Is there anything that you kind of do to keep, not so much standardised, but I guess feel like you are not all over the place, but keep a certain element of consistency across all of that?

    Steve: Well it is true Simon, on numerous occasions I have worked on albums that have taken anywhere between up to… I think I worked on a couple projects over the past that have been in the works for five years. It started with the rhythm tracks and then they brought in some extra musicians and some of the songs might have changed and they have replayed parts and they had it mixed by some engineers and possibly remixed it. You know, something that might have started in 2008 and gets finally brought onto the mastering engineer’s table in 2017 is going to have a few variables in there.

    Particularly if there has been a lot of studios used – say the drums were tracked somewhere and the bass was done somewhere else and the vocal elsewhere and keyboards were overdubbed. So I have done quite a few records where they have been international like the drums are being done in say Nashville and the bass is being played in England by some ringing session or something like that and the keyboards might have been overlaid on the kitchen table at the band’s house or their home studio.

    And then the vocals might have been, you never know, possibly even done by yourself at Studios 301. When you bring that to the mastering table I guess there are slight inconsistencies you might say between the tonal balance or the production balance or the artistic nature of each individual track. But in saying that each track, each song has its own personality, it’s own little beasty if you know what I mean. I think the job of the mastering engineer is just not to get in the way of that, not to kind of put a personality on the whole thing to make it oh so uniform and take away all the character

    Simon: This is a Steve Smart master..

    Steve: Oh yes, to over stipulate the fact. The true purpose of a mastering engineer to work out any abnormalities I guess or any discrepancies that might be I guess sort of potentially problem solving. Say if one track has got way too much tonal balance and low frequencies, perhaps if one song throughout the whole mixing stage, the guitars have perhaps been left a little bit quiet, mastering can bring that up. Even in the cases of perhaps if the vocals are a little bit too loud, in the mastering stage they can be brought down a little bit. But overall a mastering engineer will bring something to the table.

    Where there is a good strong consistency of level between the tracks they will all sound within a certain uniform balance of each other. It’s like when you are listening to the album you won’t have to get up off your backside and go up and turn the treble up and down or adjust the volume control all the time. But I believe each song has its own personality, each song has a character. When you listen to a song it is almost like it speaks to you; it tells you what it needs, it tells you what it is, even down to the finer details of it. Like I have a choice of quite a few different equalizers, compressors and limiters. You’ll put on song and you’ll think “Aahh, this really deserves going through the classic EMI TGs” for that particular character, that sound. Or you might think, “No, no, actually this is going to go through the Sontec.” Or you may say, “This is going to go through the GML, the mastering EQ, the GML”, for a little bit more of an aggressive sort of nature. It’s really difficult to explain mastering in a nutshell but…

    Simon: This is a question that I find comes up quite often particularly with less established artists working on their first EP or single or something like that – do I need mastering or what should I expect a mastering person to do? I think that the song sounds good now, what is it that I’m hoping to achieve with that? It’s kind of easier to explain to them that if we are doing a multiple song project, be it an EP or an album, that we are looking for a sort of a song to song consistency. Do you approach kind of mastering a song as a one-off in any kind of different way to what you would in terms of trying to balance it if it came in as part of a package like that?

    Steve: Most definitely. When you are talking about a single, there is a particular approach to mastering a single.

    Simon: Make it loud.

    Steve: Well it doesn’t necessarily come down to the loudness thing because in some cases if you make it too loud and it is going to radio station broadcast processing, the radio station broadcast processing can actually work against it. If it is overly compressed and overly limited in the first instance, the multitude of compression and limiting that the radio station will add to that may in fact actually be detrimental, increasing factors like distortion, clipping factors and stuff like that.

    Simon: And presumably a lot of their kind of station settings were set up quite a few years ago when masters were a little less…

    Steve: No. They constantly adjust their processing to stay abreast of current technology or current musical styles. In particular I guess you are looking at the hip pop sort of genre of music where they had sub drop bass notes which are just phenomenal, they have to accommodate and be aware of the fact that these songs are actually going to contain that sort of extreme low frequency content. And it is part of the music so it has to be allowed to go through. So I think if you are going back say 10 years ago, that sort of content would have been quite heavily limited, therefore taking away what the track is…

    Simon: A little bit of the excitement about that.

    Steve: Absolutely. So getting back to mastering for radio for a single, essentially what you are really looking for, I hope it’s not taken out of context or meant in the wrong way, but a single is an ad. It’s basically an advertisement of the band – this is who we are, this is what we do, if you like this check out the rest of the stuff that we’ve got because it’s probably similar-ish but better. Like an advert, you have to hear what the product is about. So when you’re mastering particularly for a single, it’s the vocal; it’s all about making sure that the vocal is clean, clear, everything is heard. You can’t be kind of searching for like, “Oh, what’s he singing about in the chorus? I’m not quite sure.” You have to be able to sort of clearly hear all of the instruments, you’ve got to let the song pop a little bit, you’ve got to be aware of the fact that it’s going to be listened to, say on a building site, play it out of a little ghetto blaster or something. It’s also going to be played in cars, it’s also going to be heard in shopping malls and so. So you have to take your reconsideration into the fact that it has to be clean, clear and decipherable on a multitude of formats, or a multitude of playback environments. So there is particularly possibly a little bit more control I might say that goes into the mastering stage of a single. There is definitely I guess a focus placed on both limiting and compression in order to get it through those broadcast compressors. I’ve always tried to achieve a musical sense of compression and limiting into a single so that it is controlled but it still sounds very musical, it still retains the feeling of dynamic, and it still speaks to you, it still sort of does something. It’s just not like a piece of glass, it’s just not sort of just flat. The reason I do that is I like to have the track dynamics in control so the station compressors or the station limiters at the broadcast side don’t over work, don’t have too much of a challenge to try and sort of squeeze this stuff out onto the airwaves. I guess in clarification the single job of the radio compressor or the station processing compression and limiting is to bring consistency throughout all of the songs that they play from many, many different places around the world.

    Simon: And many styles too.

    Steve: And many, many different styles, absolutely. But essentially they are there to protect the transmitter. Anything that potentially may cause damage or harm or overloading of the transmitter, it’s there to protect it, it’s there to make sure nothing squeaks through. So I tend to sort of try and get to it before that, but with a musical hand, a musical ear, try and make it all sort of work so that it basically gets through to the masses where it should be, to the people.

    Simon: And so presumably then with releases that there is becoming a prevalence, a sort of mastered for iTunes and things, things that are specifically designed for an online or digital release that it’s assumed are not going to go through these sort of broadcast extra bits and pieces. I know from some people there is a little confusion about sort of, they see the little mastered for iTunes thing. Is that sort of part of the philosophy behind that approach to things, knowing that what comes out there is going to be what it is and it’s maybe perhaps a little closer to a CD master rather than like going straight to radio kind of thing?

    Steve: Well it is true. They are two different styles. The streaming content of music at this particular point is increasing every day. CD sales are declining, interestingly enough vinyl sales are increasing, but streaming is leading, that seems to be the forefront of where people are listening to music mostly. It’s convenient, in some cases it is free, but you’ve got the pick, you’ve got the plethora of anything that you want at your fingertips with Spotify and iTunes. With the mastered for iTunes that’s a particular sort of… I think it’s a registered trademark of Apple. What they are really saying is that it is lossless, it is not compressed data, it is not an mp3 as such. In order to stream the music and in order to I guess best utilize storage space, Apple first started out accepting music and streaming it as a compressed file. It goes through a thing called a codec which compresses the data on the way in and then when played back it expands the data. And those codecs have been changing and developing with I guess the increase in knowledge of codec algorithms in mathematics, so they are getting better and better and better. The other thing that is offered with other streaming companies is lossless, so they basically they are not compressing the data.

    Simon: And we should make it clear when we say compression here we are talking clearly about data compression, not audio compression.

    Steve: That’s correct, that’s absolutely right. Instead of it being in a gigabyte they are slamming it down into megabytes to make it easier to store, take up less room on your iPad controller or your playback device. So I guess to clarify with that lossless streaming is that if you are recording a project on a say digital work station and you’re recording it at a sampling frequency of say 96 kilohertz, which takes up quite a bit of room, and your bit depth is say 24 bit, you can actually have that mastered at say whatever sampling frequency, be it 96 kilohertz, 24 bit or even 88 kilohertz, whatever format you choose, you can have it mastered at the original sampling frequency and then loaded up onto the server of the streaming service and it plays back at 96 24. So you are not actually losing anything, you’re getting it as the artist. The benefits of, I guess just to clear it up for those who aren’t quite sure about things, the higher the bit rate and the higher the sampling frequency, it allows you to have a little bit more digital headroom to play with, a little bit more clarity, a little bit more definition. Probably I am thinking back too far, but if you remember those old 8 bit games that you used to play in, the sound was hilarious, very truncated, very artificial.

    Simon: Probably hugely back en vogue now.

    Steve: Almost alien. Yes, well, I think it is. So the higher the bit depth, the higher the sampling frequency, the more accurate the recording detail of the actual music itself.

    Simon: Do you see a sort of topping out at some point with that where your average rock and roll band is going to be able to discern a difference beyond a certain point? It seems that from going up to 44, 48 and then once we got to 192 there was at some stage there was the talk of going to things like DSD that was supposed to be sort of hugely over sampled and it seemed that it kind of got to that 192 and everyone sort of said that seems to be about as much as we’re interested in pushing for the moment.

    Steve: Yes. I think, not really professing to know a great deal about the mathematics of digital recording itself, I think 192 can be a little too revealing. I have heard some classical music at 192 that, let’s just say it didn’t sound quite natural, it sounded a little artificial. And I have heard the same recording that was done at 88 kilohertz and that sounded more natural, it sounded a lot nicer, a lot smoother, a lot rounder, a lot more character. The producer of the project was asking me which one I liked and to be honest I didn’t want to get too roped into it, but I asked him to just… I set up an AB button, it was playing back and button B was another and I asked him just to select one himself, and 11 times out of 10 he kept selecting 88, he thought that that was the best sounding one; so we went with the 88. I mean 192 takes up a hell of a lot of space. If you are recording a rock band I’m not exactly sure if you really need all that space, that much detail.

     

    To download the full transcript click here:

  • Studios 301 Electronic Music Competition – Karen Hamilton

    Studios 301 Electronic Music Competition – Karen Hamilton

    The Studios 301 IS IT A BANGER? Electronic Music Competition is back for 2017! Since we’ve gone straight to the source this year and enlisted some of the industry’s most respected names as part of our ultimate prize package, we thought we’d give you the opportunity to get to know them a little better.

    Meet Karen Hamilton.

    Karen is the General Manager for 120 Publishing, which is the music publishing arm of Ministry of Sound Australia. 120 look after the publishing (composers) rights for some of Australia’s most well-known dance music writers, topliners and producers including Sam Littlemore, Savage, Paul Brandoli, Chris Arnott, Dennis Dowlut, SCNDL and Joel Fletcher to name just a few. 120 Publishing return again this year after being part of our successful competition last year.

    Studios 301: What do you think about this year’s prize package and the winners opportunity?
    The prize package this year is incredible! It’s an amazing opportunity for the winner to get some career guidance from some of the most influential people in the industry and showcase their talents at one of the top clubs in Sydney.

    Studios 301: What you are contributing to the comp?
    We will sit down with the winner and give them the ‘publishing 101’ explanation of what we do and how important it can be to have a publisher, answer any questions they have and give a little guidance on what their next steps could be to further their career.

    Studios 301: Why did you want to be involved?
    We think it’s really important that artists and writers understand the various elements to copyright and how they can both protect and exploit the rights to their music. It’s also a great way for us to see what talent is out there…and maybe even find our next signing.

    Studios 301: What are your thoughts on local talent and developing it?
    Our primary focus is the development of local artists and writers with a view to help them develop an international career. This competition is amazing because it gives people the opportunity to get their music heard by so many other industry experts who have the same love for developing artists.

    Studios 301: Anything else you would like to add?
    Good luck to everyone. We can’t wait to start on the judging process so we can hear some of that new unsigned talent.

    Here’s an excerpt from APRA’s article “Cracking the Publishing Puzzle Part 1: The Role of the Publisher” with Karen talking more about her role.

    “Some writers simply need you to work closely with their label or management to maximise exploitation of their releases, some need a lot of A&R support, some need help setting up co-writes or securing or placing toplines and some want to write for other people.”

    “For many of our writers, we also act as pseudo management – providing business affairs services to finalise their contracts, helping plan work and release schedules or helping them get a record deal or booking agent.”

    Find out more about 120 Publishing here:
    http://www.120publishing.com/

    To enter the Studios 301 Is It A Banger 2017 competition, please CLICK HERE

  • Studios 301 Electronic Music Competition – Jane Slingo

    Studios 301 Electronic Music Competition – Jane Slingo

    The Studios 301 IS IT A BANGER? Electronic Music Competition is back for 2017! Since we’ve gone straight to the source this year and enlisted some of the industry’s most respected names as part of our ultimate prize package, we thought we’d give you the opportunity to get to know them a little better.

    Meet Jane Slingo.

    Artist Manager & Executive Producer of EMC

    Studios 301 : Tell us a little bit about yourself.
    I’m first and foremost an artist manager. I work with Gabby, Jono Fernandez, Sampology and Set Mo. They are all ridiculously talented, intelligent individuals and top shelf human beings – I’m very grateful to be working with all of them.

    I’m also Executive Producer of EMC which is an annual event that runs over a few days in Sydney in the last week of November. EMC has different offerings for different types of people. Firstly, it’s a conference style event for professionals in the electronic music business or businesses related to the culture of electronic music. Ideas and insights are shared, new business models are highlighted and explored, forward thinking people share inspirational stories and case studies. People meet with colleagues and friends and make new ones. It’s a nice vibe because it’s a way for the industry to get together and celebrate the end of the year and the start of summer, and get inspired for the new year ahead. EMC also has a program stream called EMC Academy which delivers information on the fundamentals of the electronic music business, songwriting and music production workshops, educational workshops – essentially the EMC Academy program is there to give helpful information to assist people wanting to enter or starting in the industry navigate their way through it. EMCPlay is a bunch of night time showcases and parties where a diverse range of electronic music artists play for the public as well as those attending the conference. Across many electronic music genres, from live groups to solo acts to DJs. It’s pretty amazing seeing artists who’ve played at EMCPlay have really successful growth in their profile and career. Certainly not taking responsibility for any artist’s success, but I know that often little seeds planted at EMC and EMPlay have come to fruition in really lovely ways for many artists and their teams. Finally, we partner with Musica Copa which closes off EMC week with their awesome industry soccer tournament – basically all the key music companies get a team together and play against each other to raise money for multiple Australian charities. It’s a brilliant way to end the week, loads of fun, great networking and a really feel good, pay it forward kind of event.

    I feel pretty much the same way about working on EMC as I do with my talented artists – very grateful to work on it. I wholeheartedly believe in its purpose and what it does for so many people.

    Studios 301 : What do you think about the prize package and the winners opportunity?
    It’s an incredibly comprehensive grand prize for any emerging artist. Not many artists get the chance to have this kind of support in the very early stages of their careers. It ticks pretty much every box you could dream of at entry level stage.

    Studios 301: What you are contributing to the comp?
    I’m contributing one on one time for the winner to spend with me, so they can get a deeper insight into the role of an artist manager, when is and isn’t the right time to bring in / sign with an artist manager, the different ways different managers and artists work together, what you should (and shouldn’t) expect an artist manager to do for you, and generally to answer any questions the winner wants to throw at me regarding artist management or developing themselves as an artist.

    As well as this, EMC is also contributing a complimentary EMC Academy pass to this year’s EMC.

    Studios 301: Why did you want to be involved?
    Because I believe in its purpose and value. I’m proud to be a part of a community of organisations, businesses and people in electronic music that are banding together to give such a great opportunity to one of our country’s future stars.

    Studios 301: What are your thoughts on local talent and developing it?
    Thankfully, I’m seeing more artists and their teams developing talent as artists, not as brands. There is obviously still an essential need to be careful, clever and very thoughtful with your marketing, communication and the visual way you present an artist – but artists are human beings with special talents, they are not brands that churn out product. Becoming an artist with a sustainable long term career is a very challenging journey. There are many wonderful moments, but equally there are many tough moments. If we develop artists as a product and touring machine, we risk burnout, and we risk an artist declining as quickly as they rose. I really believe in nurturing an honest and unique creation and output of an artist’s music. It may not mean the quickest rise to success, but the journey to becoming a successful artist with a sustainable, long term career is a massive marathon, not a sprint.

    Studios 301: Anything else you would like to add?
    Good luck to all the talented individuals entering! And don’t be disappointed if you don’t win. The process of creating and finishing the best work you can is more important than the outcome.

    For more info on EMC please click below:
    http://electronicmusicconference.com/

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    To enter the Studios 301 Is It A Banger 2017 competition, please CLICK HERE

  • Studios 301 Electronic Music Competition – Chris Fraser

    Studios 301 Electronic Music Competition – Chris Fraser

    The Studios 301 IS IT A BANGER? Electronic Music Competition is back for 2017! Since we’ve gone straight to the source this year and enlisted some of the industry’s most respected names as part of our ultimate prize package, we thought we’d give you the opportunity to get to know them a little better.

    Meet Chris Fraser.

    Chris has been a music industry professional for over 20 years with experience in A&R, radio, production and DJing. By day he works as a senior A&R for Ministry of Sound Australia. At other times, he’s overseeing the musical direction of Raw FM as Content Director, responsible for the station’s playlist and shows.

    Studios 301: What do you think about the prize package and the winners opportunity?
    I think the winner will walk away with an amazingly practical set of guidance, contacts and tangible results for their work. It’s a really well thought-out and comprehensive prize package, it basically ticks the boxes for all the kinds of things I get asked about when I talk to up & coming artists. I don’t think I’ve seen anything quite like it before and for the right artist it’ll be an incredible door-opening opportunity.

    Studios 301: What is your involvement in the competition?
    As a part of the Raw FM team I’ll be helping to pick a winner, give their song airplay on the station (which reaches large parts of NSW via FM and much further field on streaming & apps), and giving them advice on securing airplay and how to approach radio. I really can’t wait to see what comes in!

    Studios 301: Why did you want to be involved?
    Pretty simple really, the calibre of everyone involved is top notch and it’s a really well put-together and executed concept. I also really enjoy helping to discover and nurture new talent.

    Studios 301: What are your thoughts on local talent and developing it?
    I spend a lot of my waking hours seeking out new talent and helping to develop it, whether it’s as an A&R manager at the label level or wearing my hat as a content director for radio. The two jobs normally require fundamentally different approaches, so I get to evaluate talent in different ways for each. At the end of the day seeing artists grow is really satisfying, and even if they’re not ones I’ve signed, I can still feel I’ve contributed if I’ve helped give them airplay and exposure.

    Download the free Raw FM app here:

    More on Raw FM here:
    https://www.rawfm.com.au
    https://www.facebook.com/rawfm/

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    To enter the Studios 301 Is It A Banger 2017 competition, please CLICK HERE

  • Studios 301 Electronic Music Competition – Erin Marshall

    Studios 301 Electronic Music Competition – Erin Marshall

    The Studios 301 IS IT A BANGER? Electronic Music Competition is back for 2017! Since we’ve gone straight to the source this year and enlisted some of the industry’s most respected names as part of our ultimate prize package, we thought we’d give you the opportunity to get to know them a little better.

    Meet Erin Marshall

    Our winners this year will be heading into the studio to collaborate with Erin and producer Chris Arnott. Erin Marshall is one of Sydney’s finest top liners. She’s worked heavily in the electronic scene featuring on tracks with Paces, Poolclvb, and Set Mo, and had multiple releases in the top 10 Aria Charts. Erin loves pop music, and spends her time writing for developing and established artists. She’s performed at Splendour in the Grass, taken part in writing camps including ’50 songs in 5 days’, 120 publishing’s ‘Collabro’, and the Bali Song invitational where she has worked with some of the biggest names in the USA.

    Studios 301: Tell us a little about what you do.

    Over the last few years I have been working with electronic producers and artists as a topliner, which in a songwriting equation takes care of directing the lead melody and lyrical content of a song. I’m also a singer and a DJ.

    Studios 301: What do you think about the prize package and the winners opportunity?

    The prize package is like a fast pass ahead of the cue at a carnival ride. You get a direct introduction to all the people that can help support you in developing your career as a music artist; it’s a golden ticket. 301 have done a stellar job at putting together a prize that really covers every aspect of a potential release.

    Studios 301: Why did you want to be involved?

    It’s an exciting competition and there’s a great group of people involved who are fantastic at what they do. I’ve worked with some of them already and it’s always nice to re-collaborate and give back. It’s also a good opportunity to see what style is emerging from people who might not have had a look in yet; to hear something fresh.

    Check out more about Erin Marshall here:
    https://soundcloud.com/erinmarshallmusic
    http://www.facebook.com/erinmarshallmusic
    http://www.instagram.com/erinmarshallmusic

    To enter the Studios 301 Is It A Banger 2017 competition, please CLICK HERE

  • The 301 Podcast Episode 2 Simon Cohen & Paul Brandoli

    The 301 Podcast Episode 2 Simon Cohen & Paul Brandoli

    Simon: Hey, welcome to Studios 301 Podcast, you’ve made it through to episode two. Today we are joined by the magnificent Paul Brandoli. You’re magnificent, I have decided. One of Australia’s foremost top line writers, vocal producers, songwriters as well, apparently part-time hobbyist Barista.

    Paul: Yes, one dare to dream, yes. Coffee is my thing

    Simon: Live that dream

    Paul: I’m asked what is the secret to great song writing; it’s coffee.

    Simon: I am English and so it’s 17 cups of tea every hour kind of thing

    Paul: No disrespect, but tea for me is like having a dull conversation, it just doesn’t have the same kind of punch

    Simon: Great, well thanks for joining us for this podcast, it’s going to be one of our shorter ones. How are you doing?

    Paul: I am doing great. How are you?

    Simon: I’m good. Are friend’s references is still a thing? Too soon?

    Paul: No, no. Nothing is too soon

    Simon: Oh dear. We miss you Joey.

    Paul: Unless you watched the episode, I don’t know

    Simon: I do. I was especially proud of that show as well for being able to, for being a show that was doing literally the thing that it was talking about, it was very, very self-aware and it played it very well.

    Paul: I agree

    Simon: And he does a wonderful character show of himself.

    Paul: He plays himself brilliantly.

    Simon: Yes. I wonder with that, like how close to himself it actually is.

    Paul: We’ll never know.

    Simon: I would dare say.

    Simon: I don’t know if you ever saw that movie, This is the End, with like all the sort of Judd Apatow kind of comedians sort of hanging out together. And then like Micheal Cera from Arrested Development, you the real score and he comes on and he is just like a bad-ass, so it’s like, “Oh man, I hope that’s what you are like in real life.” And all of your bumbly character that you play on TV is just a character. But it turns out you are just a boss in real life. You know, so music… That’s alright, a warm up is good I think.

    Paul: You know, TV is always a good bonding point.

    Simon: It is, it is. Well it’s funny, like years and years ago the little known trade secrets of me, I used to do… the way that I started it was totally not pop and totally not vocal-centric. I came up as, like a lot of guys did, as a rock and metal guy, playing in metal bands and stuff like that when I was in my teenage years. And it’s funny, everyone is like, “I can’t believe you do that. How do you get on with these people? Aren’t they crazy?” I said no. Most metal kids are like… just talk about The Simpsons and Futurama and you’re like friends for life, and they are usually like the nicest least standoffish people that you will ever come across. Because they are just doing a niche thing, probably for the fun of it. And it’s like, “What? You’re really into this? Awesome. Really?” “Yeah, totally man. I love this like you do.” Wow, okay.

    So I guess the idea with today is basically just kind of engineers talking nerd and all

    Paul: Talking shop

    Simon: Yes, basically. I know it’s not supposed to be an interview per se, just like a conversation with people. And I’m quite excited about this one

    Paul: Likewise

    Simon: Obviously we sort of have quite a lot in terms of what we do in the music world, so it is probably going to get dorky I would dare say. But I guess it would be amazing to start, just tell us a little bit about yourself and how kind of how you got to where you are right now.

    Paul: Well I started a long time ago. And I was writing and producing for an act and suddenly I got thrown into the act, and we had no performance experience whatsoever. But songwriting was always my thing, and working with singers became clear that evidently that was my thing too. We released an album independently in December, probably the worst time you could ever release anything

    Simon: Well, especially back in the day that used to be off limits for Christmas, right?

    Paul: Exactly. But TripleJ just picked it up and started really supporting it and playing it. And we had a whole album, we didn’t even pick a single, they did, and it just kind of really took off and we got signed to Sony for a major recording contract. And I really had an early glimpse of the power of the right song at the right time. It didn’t take the world on by storm but it was enough to kind of in still in me that this is what I want to do for the rest of my life. So it’s always been a process of just writing artist development, working with vocalists and getting into the psychology of singers. Because it really is a psychology, I’m sure you agree, yes?

    Simon: They are a fragile beast.

    Paul: A beautiful, fragile beast, yes. And I don’t know, to me the two things go hand in hand. I love writing and vocally producing and maybe getting an element, I’m sure you would agree, finding an element in a singer sometimes that they might not even know they have. But taking an element of themselves and magnifying it, not trying to make them into something that they are not, but just saying, “Did you know you could do this?” Just add it to your repertoire if you want to use it in the future for reference, you know.

    Simon: I think that’s especially a really interesting point that a lot of the time guys like us are hired. There is the facility for essentially everyone to kind of do most of what we do from their bedroom kind of thing. We are not in the business so much of really large tracking sessions, meeting 100 inputs on your console kind of thing, it’s a mic into a computer kind of thing. But I guess the reason that a lot of people come to guys like us is looking for that fresh take or that next step up, there is only so… you know, I know what I think I can do, but waiting for someone to kind of draw out that kind of next level thing, be it spotting, you know, hey, if you stop trying to be this guy and you just try to be yourself, or we like really as you say kind of magnify this thing – that one thing there, that’s the coolest thing that I think you do. I think we should get more of that, being able to have that outsider’s view on what is often a very sort of closed personal experience for most of the singers.

    Paul: Definitely. And I think also knowing when ‘if it’s not broke then don’t try to fix it either’. If it’s working, it’s working, you know. And knowing how far to push someone, I think it is a trust thing, would you agree? In terms of there needs to be a level of trust there.

    Simon: Well absolutely. It’s generally kind of quite long days in a very much as one-on-one kind of thing. I mean, I don’t even really do that much work with bands per se anymore so it’s not even that, you know, there are four guys at the back of the room sort of intently watching while a singer sings. It’s just sort of you and that person for the next three days just hanging out. And it goes beyond just the sort of “I hit record and you do the singing”, there is a lot more – you lunch together, you have coffee. There is a whole sort of building of a rapport there, and as part of that, hopefully developing as you say that trust to be able to sort of say, “Look, I’ll tell you when I think it is good. And when I say it’s not good it’s not that I think that you are not good; it’s that I know that you can do better” and take that message as it is actually intended there.

     

    Paul: Definitely. I think where our paths might kind of diverge in the sense that you’re obviously recording artists and their material. Whereas I do a lot more top lines, I write top lines in the whole scenario. For a singer to come in for a top line, it’s not about where the singer per se is envisaging, it’s not about the singer’s vision, it’s about the vision for the record and where the singer fits into that. So in many ways that kind of aspect, it is creating a character that might feel totally foreign to the vocalists. But at the same time I think that’s where we grow as artists, when we are pushed out of our comfort zone. Probably the hardest thing you could give a singer/songwriter is someone else’s song to sing. Because I think, this is a generalization, but a lot of singer/songwriters will write stuff that’s kind of comfortable for them, that’s in a kind of safe range where and when, you know, do change keys in songs for singers and so forth

    Simon: Yes, it’s been known to. Especially if there is very obviously sort of a question mark there, but it is always kind of nice as part of my, what I would call the warm up procedure. I definitely get them to do just like a couple of start to finishes. And again as you say, most of what I do, the material is kind of already written so it is pretty easy to get them to just kind of knock one or two out under the sort of the guise that this is just a warm up and it’s very clear immediately even with kind of warm up voice. If it’s just like, “Look, if you do get that note it is not going to be convincing in any way, or like we just can’t get down that low in the verse, that’s just like…”

    Paul: Have you ever called a session saying it’s not going to happen?

    Simon: I don’t think so. I have heard of people who are sort of like, “You’re not prepared enough. Go home and come back when you are.” I have definitely had ones where maybe from a health point of view, either it’s Day 3 or something like that or it’s the middle of winter and they are bit sick and it’s like, “Look, we could battle on for the next four hours, but we could beat all of this in an hour four days from now” kind of thing. And the result would be much better. SO yes, I suppose if you have called them for that kind of reason but usually not for the “You’re not ready for this” kind of thing. Usually, hopefully once they have sung it for an hour, they know the song pretty well

    Paul: Yes. I think from my perspective it’s not necessarily maybe they are not ready, but they are not the right person for the song, because can’t change the keys for top lines because it’s for a given set music bit. So sometimes it might be out of their range or you can modify the melody if it works. If something is working, if there is traction, I am happy to see it through. But if it’s not the right thing you kind of got to call it I think

    Simon: Yes and I can definitely sympathize with that I suppose. I suppose the slight other side of the coin there is that I’m paid at least have a go and try to get a result on it, and so there are a few technical things that we will try – there is as much warming up as you can do, there is doing things in short phrases. For those that are old enough to remember vari-speeding tape machines and things like that. For them I suppose the modern equivalent of like, “Look, maybe for the chorus I will just take the instrumental and we will pitch it down a semi-tone,  to that point where it’s not just right on your break, but like just one note below.”  And then I will just have to melodyne the chorus up one semi-tone.

    Paul: How do they do it to live?

    Simon: Most people sort of down a step, tune down the whole tone when they are live these days anyway

    Paul: True. But do you find it’s a process sometimes of wiring as well that once they hit a note that they may not have thought they could, the wiring is established, the connection is established and in future they probably can?

    Simon: Well 9 times out of 10 I’d say you are totally right. You will go and see them 6 months from now and they have sung it every night for the last 6 months, and it’s just like, “Yeah man, I don’t know what I was stressed about.” The thing that I find very funny with that, and this is such a huge part I guess of what we do and that thing we kind of touched on before, the delicacy of what the singing animal is. If you play guitar, inasmuch as there is a personal touch to it, if the guitar sounds like shit you can just be like, “Oh, it’s the guitar.”

    Paul: Can we say shit?

    Simon: Yes, sure. Apparently we can say it a lot. But yes, if the guitar sounds like trash it’s like, “It’s just the guitar today. I am obviously the great the guitarist, this is just a terrible guitar” kind of thing. Whereas with that thing with the singer it is a personal thing, there is nothing to hide behind, it takes a certain type of crazy to be that sort of person that stands out in front of a whole crowd of people with no armour and just be like “I’ve got a tiny, thin microphone stand and that is the only thing that sort of is the barrier between the audience and me.” And as a result of that the mind games and things that people almost kind of talk themselves into, the number of times where I’ve had conversation with people who have said, “Oh, look. I am really having trouble hitting this note. I think that’s too high for me.” And it’s like, “You know that’s not the highest note in the song, right? You know that there are other spots you’re hitting it, no problem? You’ve just convinced yourself that this note is ‘too high for you’, and that’s like let’s just practice.” And I’m a huge fan of not giving singers too much to think about, because there isn’t that barrier between them and the instrument; they are instrument. It’s like there is only so much brain power for a certain number things, and so this is why I guess personally I am not a huge fan of doing vocal takes in whole songs passes kind of thing. And I think most people these days are kind of like, “Yeah, we’ll work on the verse and and then once we’ve got that, you know.” And I am a firm believer in that, for 99% of songs allowing the singer to really hone in and focus on being in that moment. And so if there is a note where they are like, “Aah look man, I think the link between the (makes singing sound) and the way that I get up there is just a bit awkward for me.” It’s like, “Cool, let’s not waste 10 takes of you singing the whole song where you’re clearly worried about this one note that happens a minute-and-a-half in. And it means that the 1:29 leading up to that just sounds like you have spaced out. Let’s just work on that bit.” And I guess as I said this is where… those are the moments I guess where I earn my money. If it is in an awkward place or there is an interesting kind of movement there that you workshop it, it’s not unheard of to have to sort of try and change the phrasing a little bit or workshop where the breaths and those sort of things go. And I’ll definitely have a go at it, there will definitely be times where it’s like, as you say, maybe you are not the person for this or you have chosen someone who just doesn’t have these notes in their range kind of thing. And hopefully from a pre-production point of view that has been worked out. If it does get to that there are times where…  I suppose maybe half-half of what I do is artists who are the artist themselves, and there are other times where it’s artists where they are the feature artists kind of thing. And I guess especially where they are the artists themselves then you can give them the option of “”Hey look, let’s take it down a key or something like that.” Most of the production elements we deal with these days come from kind of media or something there so they are taking the track half tone down or something like that. It’s not as difficult as it might have been back in the days, especially with kind of too much out of take. I mean obviously each key has a certain mood and you don’t want to stray. I’m a big believer in there is a certain magic in something, there is a certain reason that you loved the song the first time you heard it particularly as a production pitch or something like that, there is something really cool about that so you obviously don’t want to stray.

    Paul: No, especially with dance music. There are certain keys that just, don’t go two keys

    Simon: Yes. A minor. I always thought that was the really easy one to play chords in

    Paul: It depends on the genre. Like House would be different to kind of harder kind of genres. Because of the nature of the top lining game I can’t really give a singer a guide vocal of the track because I am sending out someone’s unreleased music, and you never know where that could land. Sometimes the singer might get excited and send it and suddenly it’s all over the internet and I get in trouble. So I basically just get them in unprepared. And 9 times out of 10 I feel like that’s a good thing because sometimes an artist will bring their own kind of idiosyncrasies into it which might not be suitable for the vibe that we are going for, and if they practice it locks them into a certain headspace. So again, getting them out of their comfort zone really works.

    Simon: And I guess this goes back a little bit to the trust that we were talking about before. This feeling where it’s not just you versus me, we are on a journey together. So I guess the question I have for you is, let’s say I am artist X and we have never worked before and I walk in the door, how do your sessions tend to kind of run from there? How do you go about sort of building that trust for those that aren’t really familiar with the top lining style sessions? Are you more sort of I record the music that comes in the door kind of thing? Can you just walk through a bit of a standard kind of day, and I suppose from your point of view how you are trying to inject yourself and let the artist maximize your talents.

    Paul: It really is subjective, it really depends on the situation, it depends on the artist, and also chemistry, chemistry is a big thing for me because that is related to trust obviously. If you feel like you have a rapport happening you just kind of wing it, I do anyway, in terms of like ‘how much can I push this person’ in a positive way and there is that growth, there is that kind of challenge which is a positive thing, and at what point could that become intimidating or could have that kill the vibe? Because that is the worst thing; the singer has got to be comfortable… I have to tell you though, I use my hands sometimes

    Simon: Oh, that’s fine. I wish there was a video of it.

    Paul: Yes. So if it is someone that is not experienced I try to be really kind of considerate of that, but at the same time you can’t compromise the quality, especially as our names are going on there too. So anything that is connected to your branding, that’s something I try to teach the kids as well, anything you do has got to be of a certain caliber. And if you record something and you don’t like your vocal or you don’t like the song then you shouldn’t release it, in a perfect world.

    Simon: I’m always telling people my number one rule is don’t settle

    Paul: No near enough and good enough.

    Simon: Near enough does nothing

    Paul: No. And then other times if you have a rapport with someone where some singers that I have worked with before, if there is a friendship there or there is a relationship there, I can be a bit of a Nazi. Sometimes you break them down to build them up again, but again, in a positive kind of way; I’ll positively break you down.

    Simon: I suppose that goes into my next question. How much do you find that your input level differs when it’s a let’s say a reasonably inexperienced artist that you haven’t worked with before versus one that you have worked with before where you’ve kind of got a bit of a feel for what they are trying to do, how much more willing are you to let them take the reins and guide the process? Do you find the majority of younger artists require a lot of hand-holding through the process especially say for example if this is their first time co-writing? Do you find that most people kind of have a knack for it, is there a bit of explaining of this is going to work that’s kind of required?

    Paul: I think again it is very subjective. If vocally they are just naturally on the right tune, it’s great because then you just focus on takes and vibes and characters and stuff and you don’t have to worry about technique. Sometimes I actually do have to get, I don’t know if you do, but started with more of a croak or end it with less of a vibrato because they have been programmed it to sing a certain way that may not be on point with the direction that you want to go with. A part of my job is like A&R-ing as well in the sense that I’m being sent to music bed, I’m aware of the artist’s sound and what the label want to do so I kind of have a good idea of what is required. So it’s all about again coming to that standard and getting that kind of texture out. So yes, it really depends. Sorry, I know I keep coming back to that comment but I find, I don’t know you may agree or disagree, 95% of singers regardless of whether they are starting out or they are established, they really welcome the feedback, they really appreciate more of a direction because I think a lot of singers are used to going into a studio, not with the vocal producer per se, but with just a situation where you go in, record, and most of them do welcome the feedback.

    Simon: I would agree with you. I have had a lot of comments from people, the people who seem for whatever reason to like what it is that I do, I like to bring to them and I like this and so… I don’t feel like, I’m sure how you feel about this but I kind of feel like I don’t feel like I am doing anything special. I just feel that if I were paying someone and they we’re doing any less than what I was doing, I would be mad, I would be so mad.

    Paul: Agree.

    Simon: And obviously I can reflect back to early days of engineering and I was terrified of vocals. As I said I don’t come from the background of being a singer, I come from being a player and there was always this intimidation of, well I know that the vocal is the important thing and essentially what happens if I ruin it. And I guess for people sort of moving through the engineering or production careers from just ‘oh I’ve learned how to scoop out a kick drum and I have learned how to make a big pad that does a thing’ to feeling comfortable working with what is almost seen as like this niche thing that we do, this kind of vocal thing. I guess is there any words of wisdom that you would give people? Obviously coming from someone with a singing background as yourself it maybe came a little bit easier, but is there anything you can kind of suggest to people in terms of ways ease themselves into the process or to get a feel for… I guess the question I get asked often is how do you know when you’ve got it? What does a good take sound like? How do you know when it’s there?

    Paul: I think it is intuitive. I think obviously there are technical aspects sometimes that you have to get rid of or incorporate, and it really depends on the vocalist. But it really is a matter of just capturing that moment. And I think if you are going to be a singer and if you want to make a career out of recorded singing, because recorded singing as I am sure you would agree, from live singing are two different monsters. Live singing it’s about projection and it’s about performing, whereas with recording the mic is there. For me it’s more about light and shade and texture and storytelling. Would you agree? I think vocals today per se are more character-based than technique-based.

    Simon: Well I think especially if you look at some of the artists out there, or even the classic example would be a TV show like The Voice or something like that, that is… I guess what I tell people that I am looking for in singers is something where like I could have not heard your new song and it comes on the radio and I immediately know that it is you regardless of the song writing. You listen to a Katy Perry song, regardless of whether it is one of the older Katy Perry ones or one of the new ones that Sia has written kind of thing, the tone and the shape of that voice you immediately know it’s her kind of thing. And as you say especially with the blending of different genres and essentially anything can be pop music these days, be it Shepherd or be it something from the country world or be it something from the urban world, there is something about that tone quality to the voice that we kind of latch on to. So yes, I would definitely agree that character is a huge part these days in defining an artist, almost more than the material.

    Paul: Almost. The songwriter in me is saying, “Hey”

    Simon: There still has to be an amazing song there.

    Paul: I think seriously the two go hand-in-hand. Sometimes I have been asked on occasions to write a top line and get someone else to record it somewhere else, and the control freak in me goes, “Oh, you know I would rather kind of record it myself”, if possible; if not I trust whoever I am working with. But I like to work with young singers or inexperienced singers. I can hear someone’s tone, I don’t know about you, but I can hear someone’s tone not having met them and think all I need is a great attitude and an attitude of openness and wanting to kind of grow and make something better. If I can do that and get that and I can hear your tone, I feel we can do great things. It’s again the psychology of singing.

    Simon: Absolutely. As part of that I find particularly when I listen to demos of artists that I haven’t worked with, especially younger more up and coming artists, I find that there is often this thing where I can almost tell you the records that you listen to growing up kind of thing. There are the kind of obvious things like if you do the Christina growl or something like that, there are things like that

    Paul: Or Mariah

    Simon: Actually having said that, Asta has definitely got the Mariah going. There are a few people around that can still do that.

    Paul: There is a whole generation now that, Sia, you know?

    Simon: Absolutely. And I have worked with a couple of people that sound amazingly in that kind of style. But I find even in terms of say for example they are moving through notes when they sort of do a little grace notes beforehand, you can hear the ones that have grown up in the auto-tune generation where even the sort of like little grace notes before your main note are actually still definitely in key. There are the older school ones where maybe it’s only a little half step even though, you know. And I suppose my question would be how much do you try to separate an artist from their influences to enhance their own quality inside? Or do you sort of say “Well, look that’s part and parcel of how you are” and we’ve got to find the middle ground between these two?

    Paul: That’s a good question. It really depends. If it’s a top line situation, again, the artist is there to create a character that will benefit the entire project, because they are just a part of a big wheel in that. And it’s a collaborative thing which is exciting. If it’s an artist project and I am working on an original artist then obviously it’s more about them, their storytelling, their perspective, their unique perspective, musical perspective. So I would say okay, what feels comfortable for you? I would approach it in a totally different way and kind of try to fill some gaps if any needed to be filled, or just let them do their thing. If I feel… again it comes back to judgment, doesn’t it? If you are making music on a mass level for a mass market it’s about putting yourself in that world and doing it your way, but in a way that people can connect. And that’s technically not singing on top of the song or if you feel that there is a part coming up where you need to push and you’re going “aaah” like that and you lose me, you know. Because you get into technical mode, it’s like ‘I want to hit the note’ and it’s not about ‘oh I’m telling a story’. And I think people pick this up. The average person listens to this, sometimes they don’t know why they disconnect, but they do disconnect. And I think it’s up to guys like you and me to say, “Okay, this is why this is happening, this is how we can fix it up.”

    Simon: Absolutely. One of the earliest things that we learned in life, right when we’re just a couple months old is how to respond and react to the tone and timbre of voices, whether that means danger, whether it means things are happy, whether that means you are not really being truthful with me, whether it means that this is a heartfelt moment kind of thing. And so even the very most average of listeners is remarkably astute to all of those kind of things, and again as you said, they might not be able to put a finger on why they sort of tune out for a minute or why it doesn’t feel like it resonates with them. But as you say they are definitely aware of it and our job definitely involves a little of having to pick that apart and put the technical hat back on.

    Paul: It does, and to a point. I’m sure you would agree you get to a point where everything I have just told you, forget it, and then it’s in there and just do your thing. You cannot kind of approach a whole song thinking, “I’ve got to put more croak in at the start and less vibrato at the end” or just you know, this and that. You need to kind of let that go at some point and hope the magic happens I guess.

    Simon: Yes. I suppose in terms of the way that I would approach a section, say for example if we are tracking I know there’s definitely an element of, you know, we will do a couple takes and we will kind of warm into a section, we’ll get just a kind of vibe feel for it. And as part of that there is always some kind of amazing moment they will never recreate. Obviously these days it’s not tape, you just sort of record everything; everything gets saved somewhere. But yes, there are a couple of long takes, there will be some sort of nugget of gold that we’ll put that on the back burner. “Alright let’s do some takes and we are going to really focus in on some of these technical details. Alright we have definitely got to the point where I think we know the size and shape and I think we know all of the brain power that goes into it. Great. Alright I need you to stop for 10 seconds.”  And I am genuinely like, “I need you to jump up and down and shake your arms and just like go (makes audio sound) for the next 10 seconds. Great, okay cool. Now we’re just going to do like two more where you just literally, as you say, forget everything that we have just talked about.” Because there is a sort of programming that goes on even if you are not now thinking about the details they will still sort of be in the back and maybe you will get a nice kind of mid-range in terms of like it’s got most of the technical stuff right, but it’s just got that vibe back and you can always get that because you have what it takes as well. Great. Actually that (makes audio sound), we manage to not have that on that one take so we will just kind of fix that bad boy up just there.

    Paul: But how cool is it at the end of it when the vocals the sound bigger? I think a great vocal should sound bigger than you, in terms of like you are listening to the vocal, you have got the person recording it in front of you but you listen to that vocal and it could be it’s someone else or it’s just a big, it sounds like a record and you haven’t even kind of edited it or processed it, and I think that is an amazing kind of moment.

    Simon: Yes, the sounding like a record of thing is definitely is a huge part. The times where I get asked this question as I was talking to you about a little bit earlier, the when do you know it’s right kind of thing, it’s like my gauge for all of these things again coming from I suppose more the engineering background rather than being a singer and technique background it’s like it’s either it sounds like a hit record or it doesn’t. And if it doesn’t then the technical hat goes on and I will break it down. And I find that to really be a question of how hard should the singer sing or is the melody right or is the emotion right. So they could all be right or they could just be that one tiny thing and it might be your job to search for it, or it might be your job to just get out of the way if it’s perfect.

    Paul: But how do you approach a situation where you are working with say, and I’ve asked you this before, a superstar where there are other factors have come in, in terms of like how far can you push them, how far can you go or do you just stay within a certain kind of territory, you know?

    Simon: I suppose a superstar kind of level person is an interesting bracket to be working in because possibly more than most other artists you will ever work with there is very sort of predetermined sound, there is a bubble of material that not just people in a niche are seeing but like the entire world is fairly aware of what this person sounds like. And I suppose as parts of conversations with A&R or label people, whether it’s like ‘yes, that’s where we want to go with this’, I find that in that case artists were usually fairly forthcoming if they are looking to make a change in some way, they usually feel like they need to explain it to everyone. And so they will definitely go like, “Hey, look we are going for something different on this. Let’s just have a go and see what happens.” I kind of feel that knowing a little bit about what an artist already sounds like, especially if they’ve got a very well work-shopped sound, it makes it a little easier to kind of have an idea of when you’re getting there. There is also that thing that kind of happens when you work with someone really, really amazing. Your job almost weirdly becomes a little bit more difficult in that if you work with someone who is not fantastic it’s like, “Well this is the take we are going with because that’s the one where you sung it right, and we are obviously not using the 10 where you didn’t sing it right. This is the one we might have to try and get a couple more just so that we’ve got a couple options.” When every take that comes out is like, “Whoa, that one could be the one, or that one could be the one”, the really honing down into exactly what is amazing becomes so much more of a micro detail kind of thing.

    Paul: Yes. That’s a nice problem to have though

    Simon: It’s a lovely problem to have. But I find in terms of the working relationship and rapport with artists of that level there is always this element of kind of assumed trust which I have found is really nice. There is this element of we are all in this room because we are professionals, and we are professionals that are apparently capable of a certain quality of work. So even if it’s someone you haven’t met there is a little bit of assumed trust there, and hopefully you can then do a really good job and make sure that was founded on a good reason. But any new artist that you work with any level of standard there is always that little bit of, you know, how is this relationship going to work? What is it that you need me to be? Do you need me to be the nice guy where it’s like, “Look, that was really, really close, we are definitely going to get that on the next one. Let’s just have one more go.”  Or do they need you to be that person who is like, “That’s the worst thing I’ve ever heard, go do another one before I…”

    Paul: Are you generally good cop or bad cop?

    Simon: I’m usually good cop. I’ve heard you’re bad cop most of the time.

    Paul: No comment. No, but it’s got to be positive. I think the worst thing…

    Simon: I’m the biggest cheerleader that you’ve ever seen when it comes to sessions. And people who know me and haven’t been in sessions with me, the first time that they are there sort of hanging out, I think I have had it remarked to me that ‘it’s like you almost become this other person. There is this kind of like caricature of yourself where everything is like, “Everything is 100.” it’s almost like you become Richard Simmons or something like that where it’s like you can’t help but…

    Paul: Did you just say you become Richard Simmons?

    Simon: I did. But you know there is this element where it’s like I’m going to cheerlead you so hard that there is no way that…  you’re not even going to be capable of not giving me good performance, because there is just no other option.

    Paul: I think when I started, and I’m not a trained singer, I’m not a singer, I actually do not like my voice. But when I was in the group I did do some vocal stuff for the first time, and I know how I don’t want to be treated. When you are on a mic and you are working with an engineer you want to be challenged, I want to be challenged because that’s how I grow. But there is a certain way of approaching it where you can be a bad cop in the sense that ‘I feel you are capable of more’, not ‘that’s not good enough’.

    Simon: Well I think that’s a great point to talk about. So assuming that there are people who are looking to develop their skills in kind of vocal production or that style of what we do, what are some things that people can avoid? How do you phrase your feedback to make sure that you get what you need and you are not off-siding the artist. You may not realize that you are, but what are some no-nos?

    Paul: In terms of from a vocal producing no-nos?

    Simon: I guess in terms of how you give feedback. And of course it’s going to be different for everyone in terms of whether they need you to be that good cop or bad cop. But let’s take your particular brand of bad cop, how do you bad cop in a way that still feels constructive?

    Paul: Again it depends on the artist. If I am working on a total reprogramming and rewiring of how an artist sings and it is something that the artist has requested me to do and I am in that situation, it can be quite monotonous. And I try to avoid…  I hate dropping into every line, in terms of like trying to get… because I just feel that some point you lose perspective. And it could be a good take but it could be good in comparison to everything else that was done but not stand up on its own.

    Simon: Like Number 17 was the best but it’s still not a good one.

    Paul: Yes. But if it means like you’re strengthening someone’s register in a certain kind of key or teaching them not to use vibrato or overly exploit the vibrato or just to show vulnerability, and it can get really detailed. As soon as it starts becoming that the singer feels like they are not good enough or it becomes not a positive tone, I think that’s another one. But there is a fine line between that and pushing someone. Because often or not you push them and you get that result and they go, “Wow, I didn’t know I could do that.” And then when you’re finished and they hear it, 9 times out of 10, especially the younger vocalists, it’s like, “Wow, I love that.”

    Simon: I’m so proud of that

    Paul: Yes. And I am proud of not just the vocal, but I am proud of that reaction. It’s like, you know, the thank you thing is like no, the canvas has got to be there to work with, if it’s not there we can’t create it. So it’s just sensibilities and, again, if I know someone and I’ve worked with them a long time the bad cop can kind of come out and say, “Let’s do it again, you don’t have that.”

    Simon: And I imagine that come to you a little bit for that bad cop as well, they know that that’s…

    Paul: Well they come back

    Simon: Well, they know that that’s what gets the results, so that’s the trust building already done.

    Paul: Yes. Well, I love working with certain artists that have like… I have worked with artists that have won vocal competitions as well in that respect and they have picked up things in the sessions and it that’s how they sing live. And to have that influence on people as well, it’s great, it’s a positive thing. It’s all about I guess positivity I guess in that respect. Anything that makes you feel you’re not good enough it’s a fine line. “You’re not good enough, no, you can be better” that doesn’t mean you’re not good enough, and it’s the psychology – singing is 90% confidence, I’m sure you would agree.

    Simon: Absolutely.

    Paul: So anything that would deteriorate that confidence is not positive or productive. I don’t believe in demo vocals. If I have got a singer in there and we are going for a take, let’s go for a lead vocal.

    Simon: Absolutely. That was going to be a question I was going to ask. As part of the process do you just ‘if we are putting it down we are putting it down’ kind of thing, there is no point settling and just being like, “Oh, this is how it goes and we will do it again later on.”

    Paul: No. I actually had someone who is starting to top line and record vocals ask me, “So, how much do you do?” I said, “What do you mean?” He goes, “Are you just doing it rough?” “No, it’s got to be there. They’ve got to hear it.”

    Simon: And I imagine particularly kind of in the more sort of dance related genres there is that assumption  because you can cut up and affect anything, so it’s like the thing that you hand over, you’re not going to get another chance at doing that probably 9 times out of 10. It’s like this is the thing and they are going to put it in the track and love it and you’re never going to be allowed to touch that again.

    Paul: Well, yes. And that’s the thing too – I have worked with a lot of DJs and producers who they are not vocal producers, they are not versed in how to process vocals; they don’t need to be, it’s not their thing. So I treat the vocals most of the time, I put my own EQs, my own compression, I try not to overdo it because you’ve got to give them room to move.

    Simon: You know that they are going to put a CLA vocals on it afterwards.

    Paul: Exactly. But I very rarely give out dry stems with no treatment.

    Simon: Yes, I would definitely agree for that side of the industry. Where when I have a pretty good idea that’s what’s going to happen, depending on how detailed it is, it might just be a set of dry acappella and a wet acappella, or if there is like obviously two or three different kind of lines that overlap, maybe I would give you kind of one of each with the assumption that this is pretty much drop-in ready. You’re paying us to not have to do anything else to this, other than maybe taste adjustments. Yes, I color my mixes really bright so I will make the vocal a bit more bright, or I want a really radio thing so I’m going to put a radio filter on it.

    Paul: What do you use to tune?

    Simon: I have always been a Melodyne guy. Interestingly I’ve had other conversations about this with people and when I started sort of studio work all the guys who were just kind of one rung above me, I sort of come from working in a big studio and sort of coming up through the hierarchy kind of thing. And all the guys that were above me had been doing it for a while and so they’re all Autotune guys because that’s what they knew. And just as I was starting to kind of get interested in it was when the very first version of Melodyne came out. And I thought, “Okay, my point of difference is I’m going to be the guy who learns this really well because all of these guys don’t know how it works. I am going to spend a good solid couple of weeks just really making sure I know it.” And then for me it has always been that and I have been a huge, you know, since version 1.0,  I’ve been huge. This is amazing in the level of flexibility and also I think has a lot more detail tweaking thing much less a brute force kind of way it just kind of snap everything through the grid. It affords… and I have friends that are really good with the auto tuning graphical mode kind of thing

    Paul: I love that

    Simon: And I just never got my head around it.

    Paul: The Autoune one you mean?

    Simon: Yes.

    Paul: I used to use the Autotune one

    Simon: It just never kind of clicked with my brain in the way that

    Paul: Melodyne does

    Simon: Yes. And I guess that’s a funny thing. I looked through some of the things that I use in terms of processing and there are definitely other plugins out there, there are definitely other bits of equipment and I find that there is something that just kind of resonates with you. For some reason the way that the knobs on this are laid out makes sense to my brain and I can get results really quickly. I know that there are other ones but I know that I can do the job with this one. And for some reason, I mean, it’s wonderful day in this case that I personally think that the Melodyne kind of sounds the cleanest of all of them anyway, but it’s also just really clicks with the way that my brain seems to like to do things as well.

    Paul: I agree. I went to Melodyne out of necessity.  There are three things that I live by –  I don’t like vocals sounding tuned, unless they are supposed to. Second, I always say it takes effort to sound effortless. And third, my third life venture is I want to control the milk in my double shot lattes because that’s how I roll.

    Simon: That’s fine. I guess from a technical point of view lets…

    Paul: Did you appreciate the irony? You said before that we weren’t going to be talking about VSTs and then we definitely started talking about VSTs

    Simon: Well you know, this is a nice ‘get to know you’ thing anyway

    Paul: Are you sponsored by Melodyne?

    Simon: I am not, I have no endorsements, but endorsement companies come at me. But yes, there is definitely a few kind of secret trick kind of things and I think… the thing that I tell a lot of people is that you would be amazed how good a result you can get from even the stock kind of things that… every DAW it’s got a compressor, it’s got an EQ, most of them have a Desser or that kind of thing. If you want to learn how to really get into that thing you can get amazing results with anything. The things that we have decided and chosen to use, which maybe we will dork out in a second about, are the things that we know. They are just our tried-and-tested ones, we know that we can get results sort of quickly with them. But yes, I guess some of the tuning things are the ones that you do have to be just a bit more esoteric about. Most programs don’t come with fantastic tuning things built in

    Paul: But I like a specially for electronic music the aspect that you can change the tonality and, not the pitch but the formant. Yes, I love that, I love that. Not too much because it sounds a little bit too processed sometimes.

    Simon: Well it just gives you that extra little sort of arrow in your quiver I suppose in terms of doing it. I actually find that quite a lot when I do rap vocals. And I do a lot of work with Australian hip-hop kind of things and as a result there is often this thing where the voice just doesn’t feel sort of heavy enough for the song kind of thing, particularly if it’s got that quite nasal thing that happens when you sort of squeeze the throat together. And the formant thing I find is amazing. If you don’t know pitch coaching just load it into Melodyne, just like 0.1 or 0.2 of a semi-tone down, you can just add this. You can almost add five years.

    Paul: Isn’t it a beautiful thing?

    Simon: Yes. You can just make them 5 years older and more world experienced kind of thing before it kind of starts to get weird; there are obviously kind of limits as far as you can push it with that. Although having said that, it’s weird, I have noticed the new version of Melodyne – they always used to have just a one knob thing where you can just like turn down the formant of the whole plugin, but now you sort of have to do a drag, it’s just a little bit annoying, I kind of miss that. But Version 4 does have a lot of cool stuff in it

    Paul: I haven’t used the version 4 as yet

    Simon: The thing that I would say changed my life in Version 4, and it may just be in the studio version or it might be in all the plugin versions, say for example you’ve got Melodyne on several tracks and let’s say you have tuned down all your work to your lead vocal, when you are doing your backing vocal you can click a button and it shows you a ghost image of where all of the bits are from the lead track even though you still have your blobs from your backing vocal but you’ve got like a set that’s grade out. So if you’re like, “What did I make the melody for this section?” Or was it, you know, especially where you go down and it’s like things are a semi-tone apart, “So where did I go with that?” Especially if you are trying to make a really nice tight backing vocals where everything is singing the same melody.

    Paul: No. What about hardware though? Because I think we have discussed this in the past. I mean, you are working in bigger studios, you have a lot more access to different microphones and pre-amps and stuff, is that a help or a hindrance sometimes?

    Simon: I’m remarkably sort of, I won’t say ‘stuck in my ways’ but it’s a pretty close sentiment. From a pre-amp and sort of compressor point of view I can make do with whatever is there but given a choice I have a pretty short list and it’s only kind of one or two things. And it’s not because I have necessarily gone out and tested everything; there are things that I know I can get results on and likewise they seem to work well for how my brain wants to work. If I’m looking at a valve pre, 10 times out of 10 it is the Avalon 737, partly because I started doing this in the time where it was all kind of Baby Face style production, slow jam, R&B, and that was it just sort of what everyone had and that’s what everyone used. Having said that, at the time I had that and I had the Manley Voxbox at the studio that I worked at and nominally the same kind of animal, they are pre-channel strip kind of thing with an EQ and compressor on each and they have a valve gain stage. And there was just something about the way that the Manley was laid out that just never resonated with me. And as far as I was concerned it could have sounded 10 times better and I was just not prepared to put the time in to learning it when they knew that the Avalon was just laid out exactly how my brain kind of worked. So there’s kind of that or recently I’ve kind of gone back to using the 1073 Neves as well

    Paul: Neves are good, I like them.

    Simon: There’s this punchy thing, and I have been the Avalon guy for years and years and years and I’m intimately familiar with the range of variables and what it can and can’t sound like. And I know some people hate them and think that they’ve got no color or…

    Paul: I’ve got a 737 that I swear by. But how much do you actually process the vocals going in?

    Simon: It hits Pro Tools sounding like the record if I can help it

    Paul: Really? Okay. EQ, and how much compression do you put on it?

    Simon: I was about to say I’d rather not say but that’s not really helpful, is it? Not from wanting to hide trade secrets but more…

    Paul: A lot or not much?

    Simon: Yes, definitely a reasonable amount

    Paul: But you can’t go back

    Simon: That assumes that you want to. I mean don’t get me wrong, if we’re doing a beautifully delicate sort of Indie Folk thing, I’m not like hitting it with 30 db worth of gain reduction

    Paul: Wouldn’t that depend on what point the track is and production-wise, because obviously… my worst fear is if I overly compress this vocal going in and then the production changes and the vocals required to not kind of poke as much as it should, you can’t really go back

    Simon: Yes, I suppose so. I guess there is an element. I suppose for me most of what I work on the production is pretty close to where it’s going to end up. I do leave a little bit of room for people to kind of play around with in terms of the way that I kind of set it up. So there is obviously the mic which is probably either like a Neumann M 149 or a AKG C12, my couple of first go-tos. Fetty?

    Paul: I love the Fettys as well.

    Simon: The 47s?

    Paul: Yes

    Simon: I once upon a time was really into them and I can’t even remember why I stopped using it to be honest.

    Paul: They are great with male vocals.

    Simon: Right. Yes. They’ve got a nice kind of air to them from memory, way more useful than 87, unless you really, really like 6K

    Paul: I remember hiring from Sing Sing some mics. I had two Neumann’s, and the valve one, I can’t remember which one, but it had the term Valve box with it. And I thought with the 737 I could come up with exactly the same kind of warmth, just putting the Neumann through their 737 so I agree. It’s good to kind of… it’s like monitors, picking monitors for your studio can be the biggest head trip imaginable.

    Simon: People are going to feel very sad for me when I tell them what I work on then

    Paul: What do you work on?

    Simon: NS10 [laughter]… Having said that NS10 is bad without a sub because obviously there is nothing below about 100 there, but as you say everything sounds terrible, it’s like man it makes you work really hard

    Paul: It does. I have Focal Twins and I swear by them, I love them.

    Simon: Lovely. It’s whatever you get used to basically. But yes from my point of view I guess those kind of ones, after a little bit of trial and error they are the ones that not only do I find that they are amazing for the main lead, but I find that stack well. Especially if you get into like choruses, there is a whole seven or eight layers and then there are four more layers of harmonies and things like that. Some are really the character for local mics as you start laying them on and then you just get like that character times 50. By the time those 50 tracks, there is just too much of that thing. And then I am not huge for doing the lead on one thing and the backing on another mic kind of thing. I suppose the time constraints or just making sure that anything can be kind of, you know, if actually that backing vocal take is better that we can still use that and cut it into the lead kind of thing.

    Paul: How about vocal leads that you would record but because of the situation you would have to record in different studios and try to match up for the…  Have you ever done that?

    Simon: I’ve had to do it a couple of times. I take pretty detailed notes about everything. Like I just take photos of all the settings on the gear. I’ve just got a folder in Dropbox where I just sort of have a folder where if you have the app you can just upload them straightaway. Having said that, you might obviously not have necessarily the same thing, but at least if it’s a vocal that I started then I at least know roughly what I’m trying to match where I’m, “Okay, I know what is done on this mic so I need something that has a little bit of that character.” It’s got a valve and maybe I need to either have that, or as you say use another box to get a bit of that character in there, and know I was doing this sort of thing sculpting and know I was sort of doing it this way. There are a couple of other tricks that I have, I mean short of just air matching kind of things as if you could kind of match EQ plugins that would kind of…  they are not going to do it all for you but if you can get it reasonably close. I find the biggest trick to that is matching the performance far more than matching the chain kind of thing. If it’s like, “Oh, we have just written a new chorus so we need to punch the chorus in” kind of thing, if you can make it feel like yeah, just on the day we decided we were going to use a different mic for the chorus, but it feels like it was done on the same day.

    Paul: I had to punch into a verse that I recorded a year and a half earlier, and we pulled it off so you can’t tell.

    Simon: And this is the thing I come up against all the time with people that do demo before they come in to do their things. And a lot of people are saying studios are getting pretty good these days where the demos are of substantial enough quality that it is definitely an option to their professional artists that demo all their stuff in a studio. And it’s like the quality is definitely good enough that we could use that, and obviously we are going to spend our time, we are going to try and beat that, we are going to try and make sure that that stays the demo and that the final stays the final. But every once in awhile there is always that, “You know, there is just something about that verse, that bridge, I’ve just winged it and now I’ve spent six months learning it and it doesn’t feel as off the cuff anymore.” One of the most difficult things I’ve find is trying to recreate the ‘there is no pressure’ thing.

    Paul: What was it Phil Collins recorded in 1989 in his garage and he’s tried to recreate the vocal and they couldn’t; is that true?

    Simon: I would 100% believe that

    Paul: Yes, so they used the original. This could be total fake h-tech fake news

    Simon: I’ve heard a similar story because he had a little studio in his garden shed and it was kind of during the break up with his wife or something and there was this, “Alright, I just need to do this to basically stay sane” kind of thing. And again, once it got picked up it was, “Oh, great, we are making the record now.” It’s like, “There is no way I even want to go back to feeling like that” kind of thing.

    Paul: True

    Simon: Well, I’d love to thank you for your time and sharing a little bit with us.

    Paul: Awesome. I always enjoy our catch-ups. I want to sneak into one of your sessions one day, is that possible?

    Simon: Yes, totally. Just tell security that you are on the list

    Paul: Yeah, okay.

    Simon: Alright, well until next time thanks..

    Paul: I want to lend to some ‘good cop’

    Simon: I definitely need to improve my bad cop. Just in life, I’ve never really got the hang of it. Great, well thanks for joining us here at the Studios 301 podcast. If you like what you have been hearing please like and share and follow us on Facebook and Twitter and all of that good stuff. If you’ve got any questions for myself, Simon or Paul, our lovely guest this week, please feel free to hit us up on the Facebook comment section and we will do our best to give you some good answers. Alright, check you next week, bye.

  • 301-Podcast Episode1 – Part 2

    301-Podcast Episode1 – Part 2

    Hi, welcome to part two of the Studio 301 podcast episode number one. Speaker A: So you mentioned people from LA and that kind of thing, you were in LA pretty recently because you went over there for the Grammy’s, right?

    Speaker B: Yes, that’s right

    Speaker A: But you got to go and check out studios and meet people and just see what the vibe is over there. What was the Grammy’s like and were things really different there compared to here?

    Speaker B: Well, yes. Very, very lucky to have the opportunity to kind of go over there. Obviously that Justin song did very, very, very well, and it’s definitely one of those like “Wow!” kind of moments when it kind of sinks in that you are actually getting to go and be a part of all of that. You spend sort of a whole week or the whole time that you are involved with it over there kind of feeling a little bit like an impostor being this guy from the other side of the world and being in consideration with all these people that do all of these massive records that you’ve kind of…

    To read the the entire transcript please click here

  • APRA Awards 2017 Recap

    APRA Awards 2017 Recap

    The 2017 APRA Music Awards were held on Monday 3 April in Sydney, to celebrate excellence in contemporary music and honour the songwriters and publishers who have achieved outstanding success in their fields.

    From our team at Studios 301, congratulations to all of the winners this year! High fives to Flume who added three more titles to his ever-expanding resume, and what a pleasure to witness legendary songwriter, storyteller and activist Archie Roach receive  the 2017 Ted Albert Award For Outstanding Services To Australian Music.

    Extra special shout outs to our amazing Studios 301 clients who took home awards  this year!

    Most played Australian work overseas

    Vance Joy – Riptide

    Mastered by Steve Smart

    Urban work of the year

    Illy feat. Vera Blue – Papercuts

    Vocal Produced by Simon Cohen

    Rock work of the year

    Birds of Tokyo – I’d Go With You Anywhere

    Strings recorded in studio 1. Assistant engineer Antonia Gauci

    Mastered by Leon Zervos

    Troye Sivan who won Breakthrough songwriter of the year.

    See the full results here:

    http://apraamcos.com.au/awards/2017-awards/apra-music-awards/

  • 301 Podcast Episode 1 – Part 1

    301 Podcast Episode 1 – Part 1

    It’s official! We have ventured into the world of the podcast. Our concept is “Engineers talking with engineers“. Listen to the first episode here: Part 1 with Simon Cohen & Owen Butcher…

    iTunes

    Owen: Hi everybody, my name is Owen

    Simon: And I am Simon

    Owen: And we are engineers at Studios 301 and we are going to have a chat to you about music

    Simon: Engineering, and talking over each other…

    Simon: Hi, welcome to the 301 Podcast. This is the first episode we are trying of this. Basically the idea is just a little bit of what goes on behind the scenes of the studio here. But yes, I guess the idea of this is to have a little bit of, I won’t say insight, but I suppose kind of mimic a little bit the conversations that we always just have after sessions kind of thing. Like, “Whoa! What happened on that one?”

    Owen: Yes. So what’s going on, what did you do…

    Simon: What was cool and interesting, what kind of worked out, what was like “Whoa, I hadn’t seen that before.’ And I guess we’ll just pick any highlight

    Owen: We’ll just pick some things and talk about a few different sessions we have had

    Simon: I think so, yeah. So obviously the kind of the big headline one at the moment is that guy, Chris Martin that you met that one time

    Owen: Yeah, that one time for a couple weeks

    Simon: For weeks on end

    Owen: Yeah

    Simon: So obviously they were kind of working on new material, but the kind of big headline one is the collaboration with The Chainsmokers thing

    Owen: Yeah definitely

    Simon: That kind of happened

    Owen: Yeah, that seems to be blowing up at the moment. I think I checked the YouTube views this morning and it was about 68 million and it’s only been two weeks.

    Simon: Well that always makes a guy feel a little bit better about himself in the morning, doesn’t it?

    Owen: Yea, when you get up in the morning and you know that people are listening to the things you have recorded, it’s really nice to kind of have that. My favourite thing really when it comes to recording is knowing that other people are out there hearing and enjoying what I’ve done and what I’ve been involved in. So it’s really nice to kind of just get up and you literally go to the shop. Like I go buy petrol and it’s playing in the 7-11, I go to the supermarket to buy groceries, it’s playing in the supermarket, like everywhere. I went and had dinner the other night and that same song again, playing in the restaurant. So it’s really nice to just get up and go about my daily life knowing that there are millions of people out there enjoying what we’ve done.

    Simon: Absolutely. I think I always find that’s quite a funny thing with songs that I work on and they just, I sort of feel like once they go out the door they just kind go off into the heater and you never necessarily know what happens with them, until, as you say, you’ll hear it at a service station at one in the morning and it’s like, “Why do I know this melody. I think I did this right? It’s like nine months ago.” But yeah, it’s nice to say it’s kind of nice to have that one song where even your parents are hearing it kind of thing.

    Owen: Yeah, like you’ve got whole Justin Bieber Love Yourself, like that’s even bigger, that’s just ridiculous off the chain how big that is. So for you, I’m sure you could not escape that ever, that’s going to be something that is going to follow you for a really long time.

    Simon: It’s that thing now where like when you get introduced to a set of friends’ partners that you have never met before and they just start singing it to you because obviously they have been briefed by their partner that this is the thing that you did that one time. And not say I’m ungrateful for it, but yes, I think I am definitely ready for a new song to be in my life 24/7

    Owen: Well soon, hopefully we can get something

    Simon: Yes. So tell us a little about this Coldplay session. So I guess with the track that’s out at the moment, was that something that was worked on collaboratively with them? Was that something they just kind of sent over, an instrumental? Had they been kind of working on it before? Did Chris kind of sit down and write it in the studio when you were with them?

    Owen: Kind of both. So Chris and Chainsmokers had been working on it for a couple months beforehand. Because Chris lives in LA now, so he was working on it with them over there. And the other guys in the band knew what was happening so Chris was sort of taking the lead with them just because of location. But when the band actually gets together, it’s a good time for them obviously to record it. Because the way that Coldplay do a lot of recording is it’s a full band tracking, it’s a very traditional kind of setup. These days a lot of stuff, as you are aware, they do it individually or they’ll, especially when they are touring they’ll do parts here and there and it all comes together at the end. But this one they brought over the Chainsmokers section with Chris’ vocals on top and then the band did everything else, literally in a day.

    Simon: So kind of almost using the original instrumental as like a click track

    Owen: Exactly. So the Chanismokers beat was there and Chris’ vocal was there as a guide, and they sat down with their drums and the base and guitars, and Chris even sat down at the piano and did some acoustic guitar as well. And they literally played it like a band. So they would do take after take after take, full takes as a band to work out all their parts. Just kind of come up with ideas and make it feel like a band playing to an electronic track, not just have an electronic program thing, but actually something that was organically occurring through people sitting down at instruments playing. And the only thing we really ever dub was some guitar because Johnny really just wanted to get the guitar just right. And the way we had the studio set up was actually quite alien to a lot of engineers where everyone is trying to separate everything and keep it all like pristine. So you think, “Oh, you know, we got to get Chris’ piano to be perfectly isolated”

    Simon: We absolutely have to make sure that we re-record these later if we need to

    Owen: Exactly. But they don’t do that, they don’t mind spill. They like it when things sort of bleed into each other, because it gives a completely different feel to isolating everything. So we literally had Chris’ piano in the middle of the big old test room with Johnny’s guitar amps on the wall to like a 90 degree angle away from the piano, and they just played together. But because they know what they’re doing and they work off each other, the spill just works because they are playing off each other the whole time, and you kind of need that interaction between the two instruments and the people to make what they do happen.

    Simon: Well I suppose for a band that plays kind of such a rigorous touring schedule as they do, and they are definitely known for being a band that spends a lot of time out on the road, so to kind of break it down into separate elements other than that would probably almost feel like a bit of a weird alien concept almost.

    Owen: Yes, exactly. Also I think the fact that Chris lives in a different spot to everyone else means that when they have studio time it’s very crucial to them so they have to have that communication that they have on stage. Because you can’t get that if Chris lives in LA and they live in London say. Like even if they are sending tracks back and forth, you don’t get that band playing on the stage that we do every single night and that’s how things vibe if you’re sending tracks back and forth via the internet.

    Simon: Absolutely. And this kind of leads into something we were talking about a little while ago. You were sort of telling me a little bit that the way that the band works in the studio was a little bit eye-opening as well, again, I suppose kind of particularly stemming from this where they have a limited amount of time and we all need to be in the same room together kind of thing. And so it kind of felt like, you were sort of saying, there’s everyone kind of chipping in ideas the whole, there were sort multiple Pro Tools were kind of running the whole time so you could sort of basically be on every moment of every day

    Owen: Yes. We had… so there was the main Pro Tools HDX rig that we were obviously doing all the multi-track stuff off. I had a two track backup going on that was constantly recording. So if we were in between Pro Tools sessions, the audio cuts. But at least in between Pro Tools sessions we would flick the console into group output mode so you can hear all the sounds coming from the group out. And if Chris came up with something, or Guy came up with something, which happened at one point, we had that two-track going so that we could go back in time and, okay so 10 minutes ago we came up with this great baseline, but we missed it in Pro Tools because we were jamming in between sessions to give it something to do. What was that? Can we hear it again? That kind of thing. There was also other Pro Tools rigs set up for, let’s say they want to do some synth strings but they wanted to use software synths, so we had multiple laptops set up, patched into the console. We were actually using every single input on the console and almost every single output as well as the console

    Simon: For a 71 channel

    Owen: Yes, for a 72 channel console it was pretty fun, it really got a really sort of good running that week.

    Simon: Well and especially to be for those of listeners that sort of know that we are in the process of rebuilding or building a brand new facility. This session, for those of you that don’t know, was essentially the last big hoorah for that studio, that was basically the last week of bookings that we had. So that was a very fitting way to send off that particular room.

    Owen: Yes. It was really nice to have the last band recording that we did in that room be from a band that really is going to use the room properly and really going to use the equipment properly. So like I said, they used every single input and output on the console. Will was saying that it was his favorite drum sound even that we got.

    Simon: Amazing work from that room. Do you want to share any of the secrets that went into that? I’m sure you feel like it’s just what happens every day, but I am sure there are people who would love to know what happened there.

    Owen: Well, to be honest, it kind of is what happened every day. So we set up the mics, Rick Simpson, our producer, he gave me an input list with all the marks on it, but he trusted me to set up the mics in a way that I would normally set them up in a room

    Simon: Knowing how that room responds

    Owen: Yes. Because I use that room every day. So he was like, “Here is the input list, here are the mics I want to use. I’ve got the mics, cool. Just go set them up.” And he literally just pull the faders out and went, “Yeah, cool. I like that.” But I think the major difference is the fact that you had real drumming on it. A lot of people don’t, they sort of underestimate the value of the actual musician themselves. I think when you’ve got… like I use the exact same mics and the same console, same room every single day. But every single day you get a different sound out of it and a different feel because you’ve got that person sitting down behind the drum kit or the guitar or whatever it is…

    Simon: Absolutely. It’s their touch, with the drummer, the way that they address the slide angle at that snare’s on and what that means in terms of the way they hit it, the way the shoulder and that particular guy does that particular thing, and their own little push and pull. And I guess with a band like Coldplay a lot of people kind of see Chris Martin and I suppose it must be the same a little bit with you too as well. They sort of neglect the rest of the rhythm section kind of thing and you hear covers band playing those songs, and it’s like, “Yeah! Look, it’s the song.” But it doesn’t feel like that record

    Owen: No, and can’t recreate that feel, they can’t recreate that sound like…

    Simon: The thing that those four guys do when they are in a room together.

    Owen: Exactly.

    Simon: So I know you have been working with Justin recently as well. That’s a really different setup to what Coldplay kind of do. Because at least with Coldplay we’ve got four people playing instruments and I think you’ve got a single vocalist with a backing track I assume. I wasn’t actually at the session, but how does the set up differ with say a Justin Bieber session to a Coldplay session?

    Owen: So I’d say that when you get into that style of working, be it sort of pop or r&b or hip pop, I would say the setup tends to be very similar in that you are 99% of the time working to just like a stereo backing track, a producer has either done something specifically for that song. Or when they sort of come out of more writing style sessions you’ll be there, and anyone who is there is just sort of essentially pitching beats. Where it’s like they’re in touch with certain producers who have kind of sent them their recent catalog and everyone can kind of be fleecing through until something kind of like sparks an idea and it’s, “Cool, I can definitely hear something for that. Let’s work to that.” In this case that particular song came in as a Pro Tools session actually, and it was basically the writing demo kind of sessions that we had the individual kind of tracked out parts as much as they were, there’s only really a guitar and a trumpet and sort of the original writing demo vocal there. And yes so basically, obviously your full attention is just on vocal and vocal performance kind of thing. You’re set up essentially to kind of make everything as streamlined as possible, as little to think about from a technical point of view for the artist as possible. So, you know, it’s pretty much just a sort of a music playback and a vocal playback kind of thing. But then there is obviously a huge amount of attention paid to making sure that, you know, the headphone rigs is just right, the mood and ambiance is just so… so really hopefully we’ll be able to deliver a sort of stellar performance, and from there on you’re obviously sort of coaxing and guiding but trying as much as possible. Also stay out of the way a little bit, sort of hoping obviously that when that bit of gold happens that you’re ready and everything is kind of set and that you’ve definitely hot record at that moment, at that point.

    Simon: Yeah, you know. Usually you’re a few takes in there. There is always that story of kind of like the warm-up run where there’s the bit of gold and they can never do it again, so you obviously always record. And I think that’s probably pretty standard for everyone in any sort of style. It’s like, always make sure you get that warm-up take, there is always going to be some nugget in there.

    Owen: Yeah I’ve found that as well, even just for a band or whatever session, it’s like even if they are just doing warm-ups, just hit record, you never know.

    Simon: You know that definitely like probably by the second chorus or something and they are really playing their ass off and it’s just kind of like, “Oh man.” As soon as we break this down into recording in sections or something like that, or we are five takes in and everyone is just looking at it like, “We’re five takes in.” The tones may not be 100% dialed in, or like from a vocal point of view it’s like, “Yeah, maybe it’s hitting the compressor just like a touch loud or something like that.” But man, there is just about not thinking that this one counts, that it’s just so hard to artificially create that. The classic thing I find with vocals all the time, and you hear it kind of all the time particularly on hip pop records and stuff, like all the time they are just sort of nonsense talk before a song starts or before a verse starts. You could not believe how difficult it is to try and recreate or coax that out of most artists. There are a few artists that are well experienced or quite good at just talking, talking, talking and happily just making stuff up on the spot like that. But for most people they find it very daunting kind of going off script. And if you get that warm-up take or you get it when they are recording the verse, and you get a few of those little things just while they’re like, “Yeah, I’m just waiting for the beat to come in” kind of thing, it’s just so much more organic than trying to go back and script the thing. And the classic example is that anytime you need someone to like laugh in the middle of a song or something, there is nothing faker than trying to make someone laugh on cue as opposed to like, “Haha, sorry, I just messed that one up” and it’s like that’s the laugh we need, we’re never going to get that again.

    Owen: Well that reminds me actually I had this session yesterday where I was recording a band for Australian Music Week and this is like in Cronulla RSL Club we literally set up little pop-up studios in the RSL club right next to the old bloke sitting at the bar. And I recorded this vocal of this singer, we had the collaboration but there was one of the vocalist in particular, he was sick that day, his voice was really hoarse, it wasn’t up to his normal standard. And he sung it and we literally had 20 minutes to get the vocal down, it was super, super quick, that was all the time we had

    Simon: Three round takes

    Owen: Essentially yes. And there was actually a staff door in the club that people were going in and out of all the time. So every time someone opened the door it would make a big screeching sound, and it would slam shut every single time. So we hit record and he get halfway through the vocal and you’d hear this [mimics sound] in the background. So I just kept pumping him for a take, I’m like, “Just one more, one more, one more” so that we didn’t have anything that had noise in it. But then yesterday I got him back in the studio to re-record that and he couldn’t recreate the vibe that he had on the original take. Even though in the original take he was sick, we were rushing through it, he’d only just learnt the words. Like after practicing, knowing the words very well and thinking, “Okay, I really know what I am going to do” we just couldn’t recreate the vibe and we ended up going with the original slightly noisy, not as in tuned vocal, because it actually sounded a million times better.

    Simon: Well, look, and this is the thing. It’s kind of the classic demo-itis. If you walk away and you spend two months just analyzing that thing you did and you listen to it again and again and again and it’s always, while it may be technically better, you’re always just recording a copy of something. And the number, particularly in kind of sort of song writing, the number of vocals that come from the song writing demo, even if it’s just like maybe sung into an iPhone or something like that, but this is like, “Oh man, there is just something about that we’re just never going to get” or ‘never going to get that again’ kind of thing. And you pull out all your tricks in terms of trying to sort of muster up a bit of vibe, and you can do a few more, you can try everything you can. And sometimes you got to just admit that there’s something super magical about that particular thing. Sort of in the same way that you listen to records from the 70s, Aretha Franklin or something like that. And although they are not demos there is definitely some little technical things going on in the takes where it’s like “If you did that again, maybe it’d something” which is like there is something about those performances and that’s why they’ll just be sampled forever because there is a mood going on there, and I think those guys were kind of experts at that as well.

    Owen: So when it comes to say, if you are working with Justine Bieber or I know you have worked with Will.I.Am and people of that sort of celebrity I guess, does that change what you do compared to say if you were doing a local artist? Or is it the same kind of thing?

    Simon: I think to some extent there is an element of professional trust there kind of at any level. Perhaps people who are more local artists maybe they will want you to be doing more of the storytelling during the sessions, where I tend to find that on those higher profile sessions, particularly Will for example, it’s definitely them telling the stories the whole time, and their stories are awesome because they’re about all these records that you idolised kind of growing up. I think in terms of a technical point of view there is definitely an element of just sort of sticking to your guns kind of thing. By this stage you get to, in your career of working with artists of that level, you have experimented a bit, you’re reasonably set in how you know that you can get results and get them dependably and you’re being paid for that level of professionalism. And so, kind of from a technical process, I don’t think it changes that much either way. You will find that, I suppose you’ll find that at various levels with artists though. But there are definitely artists that have more set ways that they know that they like to work. There are others who are just sort of like, “Oh, give me the regular way, the way that everyone does it.” And sometimes the more experienced guys will have been mentored by a producer for a couple of years and there is a particular way of working that they have developed that may be different to just a local artist that is more your whim in terms like. “Oh, I like doing it like this so we’re going to do it like this.” And that’s not to say there is an ego involved, it’s just that dependability thing that I guess I was talking about.

    Owen: I think it’s just the way that’s going to get them the best performance and the way they feel the most comfortable.

    Simon: Yes, exactly. And that may be as simple as, “Oh look, I have developed it that I really, really like doing vocals as all takes. I’ve done it the other way and this is the way that I get it best.” And if that’s the way that they get it best then you have to trust to some extent that they have recorded themselves or they have recorded more than you have recorded with them, so they will know themselves a little better than you will know them. The other end of that, Justin for example, and actually quite a few of the guys from LA or from that kind of style of working, the vocals is almost the opposite, it’s much more of like a line or two at a time kind of thing. There’s this idea with doing vocals that you have the least amount of things to focus on. So if you are thinking about that note in the bridge that you know that you have been stuffing up every time and you’re only on verse one right now, and that’s going to play in your mind for the next minute and a half worth of performance, it’s like you’re probably not going to be focused on this line right now. Whereas they’re more about let’s really, in as much as it’s common to maybe just track a verse at a time, they’ll definitely be happier to break it down even further than that, so just give me that line or …

    Owen: A couple of words

    Simon: At least give me this one line on loop and I really want to kind of make sure, there’s a thing in there that I really want to do. Show me the first line, let’s get a few takes and there’s less of an emphasis on comping after the fact, a little bit of like let me do a couple now and that felt really good show me, I think I can beat that, and almost kind of live comping that way, a little bit more like what it used to be in the tape days where it’s either the take or it’s not the take. And maybe you hang on to one or two other as sort of safety backups. Of course these days, not being a tape machine, it’s all recorded and it’s there in the hard drive somewhere if you want to go and kind of dig it up. So yes, I kinda guess with that, so going back to your question, there is a little element there of knowing that you have the skill set and then just tailoring it to their particular workflow if they know that they’ve got something that they really want to do. But that’s not necessarily only going to happen when you work with high profile clients, there are definitely some sort of younger up and comers that I’ve worked with where they’ve already got a very firm idea of what seems to work for them, which is always really fun as well.

    Owen: Great

    To download and listen on iTunes please click here: https://itunes.apple.com/us/podcast/id1215501732

    interim-simon-cohen

    Simon Cohen and Owen Butcher are recording engineers at Studios 301

    For all production and recording enquiries please call 02 9698 5888 contact Abbey@studios301.com

  • Chris Arnott joins the Studios 301 team

    Chris Arnott joins the Studios 301 team

    For those of you well acquainted with the Australian dance music scene, you’d know Chris Arnott for his consistent ability to produce &/or write an ARIA Club charting hit.

    For those uninitiated, please read on and meet the newest addition to our Studios 301 producer roster.

    Chris is one of Australia’s most formidable electronic producers and songwriters, recently returning from LA where he was working on new music with Tommy Trash. He joins the Studios 301 team with a wealth of knowledge and experience, and a multitude of electronic releases under his belt both in Australia and internationally.

    Working with labels including Ministry Of Sound, EMI, Sony, Universal Music, Armada, Spinnin’ Records, Dim Mak, Ultra Music, One Love, Vicious, and Toolroom, Chris’ work has gained a monumental 2 x Aria Club #1’s, 24 x Aria Club top 10’s and 14 x Aria Club top 20’s in the last few years.

    On top of this he played a featuring role in the success of our 2016 ‘Is It A Banger’ Electronic Music Competition, working with winners Polarheart who were signed to Sony shortly after.

    To celebrate Chris joining the 301 team, we caught up with him between sessions, to get his thoughts on what’s ahead in 2017.

    How does it feel to be part of the Studios 301 team?

    It’s an honor! To be able to realise my creative visions in world class facilities surrounded by such a formidable team is amazing; it’s quite a privilege.

    How was being a part of last year’s electronic music comp?

    It was a great experience. There was so much amazing talent it was really hard to narrow the field down.

    What was it like working with the winners?

    I think the fact that the Polarheart guys got signed to Sony was wonderful news! The guys are super talented and have a great career ahead of them.

    What have you been working on recently?

    I’ve been working on several of my own musical projects on top of my freelancing production and songwriting work. I’ve also been involved in developing 2 particularly exciting young acts that I can’t really go into too much detail about just yet, but it’s very exciting stuff. I’ve also been exploring some great opportunities abroad in the US and the UK.

    What are you looking forward to this year?

    Apart from continuing the above, I’m really looking forward to sinking my teeth into work with 301, and helping to develop a mentorship program. I’m also launching my label and artist collective called No Winter.

    No sleep for you this year! What’s your approach when working with new artists?

    That’s a tough question. It all depends on the individual artist(s). I always go into any new project with a totally open mind and just see where the music takes us.

    How does working with artists differ from working on your own music?

    I LOVE working with artists. It’s so nice to be able to have other creative minds to bounce ideas off and create some magic. Sometimes working alone for too long can end up like a scene from The Shining.

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    What do you have coming out this year you’ve been working on?

    There’s about 7 cuts lined up for release at the moment including my own 2 projects.

    You can find Chris’ full profile on our website here:

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    Chris Arnott is our in-house recording engineer at Studios 301

    For all recording enquiries please call 02 9698 5888 contact Abbey@studios301.com

  • How do I prepare my tracks / files for mastering?

    How do I prepare my tracks / files for mastering?

    Here at Studios 301, we field a lot of questions on how tracks should be prepared and submitted for mastering. Modern day digital audio workstations can throw up a dizzying array of options at the export window, thus we’ve outlined our preferences on how you can provide your mixes to our mastering engineers for optimal results.

    Preparing mixes for mastering:

    We prefer interleaved 24Bit Stereo WAV files to work from. AIFF and/or dual mono LEFT and RIGHT files can also be accommodated. If you only have 16Bit source files, these are still acceptable.

    The sample rate of the mixdown file should be the same as what the project was recorded at. Leave any downsampling to us. If you require masters outside of the standard 44.1Khz sample rate, please let us know.

    A lot of queries we get regard master buss processing, whether it should be left on or not. This is often case-by-case, as it’s easy to overdo compression/saturation/limiting on the master buss. We don’t advise removing it however, as it may lose the intended vibe. If you are unsure, you can provide us with both a version with master buss processing on, and a version with it off, or ask us for a mix evaluation.

    If you have any specifics about edits, fades, crossfades, or spacing between songs, let us know upfront to minimise delays in completing the project. You can provide us with audio examples of timings and fades as it’s often easier to do this than explain over email.

    If you require versions of the masters as singular tracks as well as versions with the tracks crossfaded or edited together, it’s also best to let us know this in advance.

    Please feel free to email mastering@studios301.com with any other questions. Otherwise, we’ll look forward to mastering your new tracks!

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    Harvey O’Sullivan is an in-house mastering engineer at Studios 301.

    For all recording enquiries please call  02 9698 5888 or contact mastering@studios301.com

  • Working with Coldplay at Studios 301

    Working with Coldplay at Studios 301

    So if we didn’t make enough noise about this last year, let us remind you. In December 2016 Coldplay quietly took up a residence at our Sydney Studios to work on some music whilst they were in Australia on tour. These sessions marked the last official band recording in our legendary Studio One before our 2017 relocation to commence construction of our new facility.

    Whilst frontman Chris Martin had announced that the quartet had plans to release a new EP this year, the crew here at 301 spent the first few months patiently waiting. Finally some music has emerged from these sessions and it’s making a pretty big impact to say the least.

    The first to be released on February 22nd was a collaboration between The Chainsmokers & Coldplay called “Something Just Like This” which broke the official YouTube Record for Most Single-Day Lyric Video Views.

    The second was Coldplay’s own song called “Hypnotised‘ which was a surprise release on March 2nd that coincided with Chris Martin’s birthday. Additionally with this release the band officially announced the date of their upcoming new EP!

    So with all the Coldplay buzz happening we reconnected with our 301 in house engineer Owen Butcher who assisted on these sessions to talk about what it was like working with the band and hearing some of this new music for the first time.

    Here’s Owen’s recollection of working with Coldplay and their long-time producer Rik Simpson.

    “Working with Coldplay and their producers Rik and Dan was a great experience. They have all worked together for a long time, so they make a very cohesive recording unit. lot of the time was spent supporting them technically and generally just making things happen in a way they needed it. The band have a very fluid approach to recording, where they have a basic structure worked out of what they want to play, but it’s open enough for new writing ideas to come forth and be integrated into the sound very quickly, no matter which band member the idea comes from.

    Chris spends a lot of time in the studio, so he would bring the songs to the table in a demo form and let the rest of the guys work out parts that fit and finish it off. It’s a very hands on approach as they’re all playing instruments live while doing this, so you’ve got all four band members playing together. They’re semi isolated sound wise from each other, though the piano and guitar were in the same room, but sight communication is key and trumps the need for complete isolation. A bit of spill doesn’t bother them if the song is good!

    The Chainsmokers collab “Something Just Like This” was brought to the studio with all the Chainsmokers parts finished, and Coldplay were putting the finishing touches to their contribution. Again, it was full band tracking live (very refreshing for an electronic based track), and after that we focused some time with Jonny getting his guitar just right. From the get go he could hear where it needed to be and had the basis for it very quickly, but as it was the peak of the song he was determined for the feel to be just right. I personally think it makes the end really pop and was definitely worth the effort.

    “Hypnotised” was the first track they worked on when they arrived. You could see they were keen to get this song tracked and finished. They were feeling good and we got the band parts for the song tracked in a short amount of time. Because they’d practiced beforehand and knew what they were playing, it went down very easily. The day before we’d pulled sounds on all the instruments and tuned the kit and piano. This resulted in Will remarking that with a combination of the room, mics and kit we’d pulled the best drum sound he’d ever tracked, and Chris was equally impressed with our Yamaha C7 too.”

    “The band and crew are all great people. They’re one of the nicest bands I’ve had the pleasure of working with are genuinely warm and caring toward everyone, whether that’s making sure to go out of their way to thank interns and other studio staff, or even just chatting to other musicians they meet in the building about music. There was even a writing camp using our other rooms and Chris gave them 75 free tickets to one of the Coldplay concerts after chatting with one of their runners. Very generous people all round.”

    Owen Butcher
    Owen Butcher

    Owen Butcher is our in-house recording engineer at Studios 301.

    For all recording enquiries please contact us.

  • Steve Smart Remasters Midnight Oil!

    Steve Smart Remasters Midnight Oil!

    If you’re a Midnight Oil fan, you’re probably thrilled at the recent announcement of the legendary Australian band’s first World Tour in over two decades. You’ve also likely had your interest piqued by the three new retrospective box sets due for release in early May, particularly that unreleased and rare material.

    So how did the remasters come to be? We got the scoop from our very own legendary senior mastering engineer Steve Smart, who has been diligently chipping away at the project since 2011.

    When Nick Launay, now based in L.A. and one of the world’s most sought after producers with albums by the Yeah Yeah Yeahs, Arcade Fire, and Nick Cave, landed in Sydney on a much deserved holiday, he decided to look into something that had always bothered him; the original CD version of Midnight Oil’s 10,9,8,7,6,5,4,3,2,1 a record he and the band co-produced in 1982.

    Launay had the original analogue masters brought up from Midnight Oil‘s archives, and sent them off to Steve Smart at Studios 301 for evaluation against with the original CD. Upon comparison, Launay and Smart felt that the tape and original vinyl record sounded considerably better than the original CD. The band agreed, and the decision was made to remaster the album for CD and Digital release from the original half inch analogue tapes.

    The result proved to be of significant benefit, with digital technology having improved immensely since much of the Oil’s back-catalogue original releases. Consequently, all of the back-catalogue was given a ‘freshen up’, and during the process a few gems were discovered in the vaults, some having never before seen the light of day. Along with the rest of the material, these received what Smart likes to refer to as “a bit of a loving cuddle in the mastering room”.

    Pre-order the Boxset Collections, Deluxe LP, CD & Rarities now . Out May 5.

    The Full Tank” CD set features all of Midnight Oil’s existing albums and EP’s; a new four-CD/eight-DVD set called “The Overflow Tank” will include over 14 hours of previously unreleased and rare material. Both are housed in minature replicas of the water tanks the band have used as stage props over the years.

    There’s also a vinyl box set with 11 LP’s and two 12″ EP’s, all remastered from the original analogue tapes by Steve Smart at Studios 301, Sydney, and cut for vinyl at Abbey Road Studios, London.

    steve-smart-image-3

    Steve Smart is a senior mastering engineer at Studios 301

    To book Steve for your mastering project, please contact Lynley on 02 9698 5888 or mastering@studios301.com.

    To read more about the Midnight Oil Vinyl Boxset please follow this link:

    http://www.midnightoil.com/midnight-oil-announce-the-great-circle-2017-world-tour/ 

  • Five Ways To Get Weird-by Jack Prest

    Five Ways To Get Weird-by Jack Prest

    Blog by Jack Prest, Producer/ Engineer at Studios 301

    If you’re working on electronic music production or online mixing, there will come a point in every track that you need to send things a little left of centre. Here’s some tips on how to get a little freak into your beats.

    1. Crystallizer – Sound Toys

    • This plugin is epic and throws out all sorts of weird pitch modulations and sounds. The presets alone have a wealth of sonic possibilities and you can really get deep into sound design when you start tweaking. All Soundtoys plugins have a hidden layer or parameters, press the tweak button on the main GUI to access them.

    2.Moog Multimode Filter – UAD

    • I love this plugin. Not only can you throw it on an average sounding soft synth and bring it to life but you can really get some crazy tones. The Drive function adds some super tasty harmonics (try the +20db switch for ultimate destruction) and the filter self-oscillates when you crank the resonance. You can also tempo sync the modulation which makes it great for mangling beats.

    3. Re-Amping

    • I’d strongly recommend investing in a re-amp box and a little amp or some guitar pedals. There is a whole world of sounds available as stomp boxes and it’s a great way to add some real sounds to an otherwise ITB track. Even if the pedals are cheap and nasty and sometimes that’s exactly what you want…

    4. Re-Micing

    • You should also try recording audio playing through your monitors with a microphone. The mic doesn’t need to be anything fancy. Move the mic around to create a sense of movement and modulation in the sound. Just be careful to mute the input of the mic to avoid feedback. Izotope make a plugin that imitates this process called Möbius Filter, that I highly recommend. (Fun Fact – This technique was a big part in how they made the original lightsaber sound!!!)

    5. Record your own sounds.

    • No better way to get something weird and original into a track then to make it yourself. Experiment with things around the house (pretty much everything makes a noise) and sculpt those sounds using your DAW’s samplers and effects.

    For enquiries or bookings with Jack please contact us.

  • 2016 ARIA Nominations

    2016 ARIA Nominations

    It’s that time of year again with the 2016 ARIA Awards just around the corner. We’d like to extend a huge congratulation to all of this year’s nominees, and give a shout out to the amazing artists we have worked with who’ve made the list. We’d also like to give acknowledge the extraordinary efforts of our Studios 301 engineers who worked on many of those projects.

    Below is a list of nominees and their works that our Studios 301 engineers have contributed to;

    Senior Mastering Engineer Leon Zervos leads the pack mastering NINE nominated projects:

    • Troye Sivan ‘Blue Neighborhood’ – 7 nominations (album master)
    • Bernard Fanning ‘Civil Dusk’ – 4 nominations (album master)
    • Delta Goodrem ‘Wings of the Wild’ – 3 nominations (album master)
    • Montaigne ‘Glorious Heights’ – 3 nominations (album master)
    • Guy Sebastian ‘Black & Blue’ – 2 nominations (single master)
    • Gang Of Youths ‘Let Me Be Clear’ – 2 nominations (EP master)
    • Olympia ‘Self Talk’ – 1 nomination (album master)
    • Joe Chindamo & Joe Black ‘The New Goldberg Variations’ – 1 nomination (album master)
    • Bob Evans ‘Car Boot Sale’ – 1 nomination (album master)

    Nominated credits by our Studios 301 producers and recording / mixing engineers:

    • Illy ‘Papercuts (Feat. Vera Blue)’ (Best Pop Release)

    Vocal production – Simon Cohen. Recorded in studio 6.

    Illy was also nominated for Best Male Artist & Best Video

    • Peter Garrett ‘A Version of Now’ (Best Alternative Album)

    Assistant Engineer – Dan Frizza

    Mastering Engineer – Steve Smart

    • Urthboy ‘The Past Beats Inside Me Like A Second Heartbeat’ (Best Urban Album)

    ’Second Heartbeat’ feat. Sampa The Great and Okenyo

    Vocal production – Simon Cohen

    • Emma Pask ‘Cosita Divina’ (Best Jazz Album)

    Recorded and mixed by Simon Cohen in Studio 1

    • Stu Hunter ‘The Migration’ (Best Jazz Album)

    Recorded in Studio 1. Assistant Engineer Simon Cohen and Owen Butcher

    Finally, a MASSIVE shout out to our on-again-off-again tenants and buddies RUFUS for being nominated for Telstra Album Of The Year, Best Australian Live Act, Best Dance Release, Best Group and Best Cover Art!

    For the full recap visit the Aria Awards website:

    http://www.ariaawards.com.au/nominees/2016/Aria-Awards/Album-Of-The-Year

  • Ditto Music and the I Am Indie Competition

    In April we launched our I Am Indie competition and we’re very happy to say that we have since been swamped with an amazing amount of unreal applicants. We’ve been well and truly blown away by all the high quality of entrants! (Well done guys) In order to provide such an amazing prize package we teamed up with our buddies at Ditto Music for everything that happens once you leave our studio (including a World Wide distribution package, Social media Starter marketing kit and a one-on-one consultation). For the benefit of those who want to know a little more about the team behind Ditto and what they do, we caught up with the manager of the Australian office, Sarah, to get the scoop and how they are enabling artists to release their music worldwide!

    The Melbourne Ditto team: Anthony Barton, Sarah Hamilton & Vader Fame

    Photo credit – Elleni Toumpas

    What is your role at Ditto and what do you guys do?

    As mentioned I am the manager of the Australian office – we are based in a fantastic music hub filled with other music companies in Collingwood, Melbourne. We are an international company with headquarters in Liverpool in the UK, and offices in London, Nashville and San Diego. We have a small but wonderful team here in Oz. I do a range of different things from helping artists and labels with questions they have, to project managing international and local release campaigns, to organising partnerships with other companies in the music industry, to pitching for coverage with Spotify and the other stores, to educating artists on how they can best get their music heard. It’s a mixed bag and I absolutely love it – the digital world is always changing and never boring.

    How do you help artists realise their dreams?

    In 2016, independent artists have access to a lot of the same opportunities that major label artists have. This is both exciting and challenging – exciting because you can get added to a Spotify playlist next to Sia and get a million plays in a week, and your career has taken off. (just one example of many). You can crack the ARIA charts and iTunes charts as an independent artist, and still own 100% of your music. You can control and create and experiment with your own music and get it out there.

    Simultaneously, it’s challenging because every artist has access to these opportunities. To be successful as a musician you need to make the music you want to make, decide on your priorities and pathways, educate yourself and continue learning and get a team of professionals around you who also believe in what you’re doing. It’s not easy but it’s more attainable than ever, and people will always love music – that will never change.

    What is the biggest challenges you think artist face?

    This relates to what I said above but expanding on that, it’s being heard above the noise of all of the other bands out there! There are millions of songs, thousands of blogs, social media is constantly in our faces (if we choose for it to be) so things are fragmented, and it’s hard to cut through it all.

    Also the obvious challenge for most bands is a lack of funds. People just don’t buy music like they used to – sales are still just going down further. Streaming and paid subscriptions are on the rise but there is still an enormous gap and artists usually have to support their music careers with a second job.

    Artists have to figure out where to prioritise their funds, and it’s tricky. I would love to see artists supported financially so that they can do what they do best – make music.

    What specific services do you offer and what excites you about your role and working with artists?

    Our services include digital distribution to online stores like Spotify, iTunes, Apple music, Shazam etc, and setting up of VEVO channels for artists and labels. We can help with release strategy, pre-orders on iTunes, We also offer services like publicity, social media campaigns, pitching for playlists, and will soon be launching our record label in a box product here in Oz which means that people have access to everything they need to start their own label. It’s launched in the UK and US and it’s so exciting seeing the labels that are being set up – really cool to see. (https://www.dittomusic.com/recordlabel-in-a-box)

    The thing that excites me about working with artists is just listening to all of the amazing and unique music that we have coming through. It’s astounding the talent that is out there!

    I also just love talking to people who are passionate and excited themselves. Musicians are just generally interesting and hard-working people who have stuck at something and made their vision a reality. I love talking with people about what they’re doing and their vision – it never gets old and I don’t think it ever will.

    How did you got involved in the I Am Indie competition with 301?

    We’ve always been a fan of Studios 301 and the name is synonymous with a top-class recording studio in Australia. A heap of Ditto artists from Sydney have recorded at Studios 301, and after meeting with Lynley (Studios 301 Mastering Manager) at BigSound last year I was keen to work with Studios 301 in some way. When the guys approached me with the idea of the ‘I am Indie’ competition there was no question.

    We love being able to offer a great package to artists in Oz and help them achieve their goals.

    Can’t wait to hear the winner!

    For more information and to enter the I Am Indie competition – Please click below.

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  • September Mastering Highlights

    September Mastering Highlights

    • Tom Stephens ‘What Lies In The Difference’ –  Album mastered by Andrew Edgson
    • Shannon Noll ‘Who I Am’ – Single mastered by Steve Smart
    • Jack River ‘Palo Alto’ – Single mastered by Steve Smart
    • Gretta Ray ‘Unwind’ – Single mastered by Steve Smart
    • The Bobby Darin Musical (Australian Cast Recording) [feat. David Campbell] ‘Dream Lover’ – Album mastered by Leon Zervos
    • Tash Sultana ‘Jungle’ & ‘Synergy’ – Singles mastered by Steve Smart
    • DZ Deathrays ‘Pollyanna’ – Single mastered by Steve Smart
    • Anthony Callea ‘Backbone’ – Album mastered by Leon Zervos
    • Confidence Man ‘Boyfriend (Repeat)’ –  Single mastered by Leon Zervos
    • The Pretty Littles ‘Soft Rock for the Anxious’  – Album mastered by Leon Zervos
    • British India ‘I Thought We Knew Each Other’ –  Single) mastered by Steve Smart
    • Maribelle ‘Say It For Me’ – Single mastered by Leon Zervos
    • Laurel Laxxes feat. Holly Tapp ‘Impasse’ – Single mastered by Steve Smart
    • Kasey Chambers  ‘Ain’t No Little Girl’ – EP mastered by Steve Smart
    • Babaganouj ‘Hard To Be’ –  EP mastered by Steve Smart & Andrew Edgson
    • Jinja Safari ‘Crescent Sun’ & ‘Crescent Moon’ – Albums mastered by Andrew Edgson

    Shannon Noll – Who I Am

    TASH SULTANA – JUNGLE

    Pollyanna · DZ Deathrays

    British India – I Thought We Knew Each Other

    Babaganouj – Sorry