Pre Production 1

Pre-Production

Finance:

We will use the money we get from our currently active studio to fund the recording, however we can also use the fee we get from the client to add to the budget. We are charging £25 an hour, this means £250 a day, depending on the amount of time it takes to complete the recording this should be plenty to comfortably create the recording. This includes paying the crew and any potential copyright fees that should arise.

The cost to rent the studio space is £300 pound a month; this is due to the studio being moderately sized, with a recording room and mixing room only. The fee we charge should easily cover this cost.

(The royalties we will receive from the sales of the recording will also fund future projects we work on, provided that the recording does well we could potentially be in a position to create even higher quality recordings in future with new equipment and workspace.)

Production Equipment:

We already have a lot of the production equipment in the studio:

2 X Marshall MG30CFX (£130 each(£260 total))

1 X Ashdown EVO III 210 Bass Combo Amp (£279)

3 X ShureSM58 Microphones (£79 each(£237))

1 X Rode NT1 Microphone (£159)

It would be preferable that the band provides their own instruments. It is important that the band has there own unique sound. It is also important that the band can perform efficiently as to not waste time and money, thus using instruments they are more used to would potentially be better.

Post Production Equipment:

Postproduction can be done on the software Cubase; this is what we also are using to record the audio tracks, as we will have it connected to the Mackie1640i. This will make it easy to mix the tracks and add the effects that the band want, as well as equalize the levels to make sure all of the parts of the recording can be heard. Also to make sure that the band has a recording that they are pleased the most part be as they envision it. We will be using an apple mac to mix and master the song in order to create a high quality finish; this is due to the macs high processing power and quick speed.

Transport:

	600kg or below	Above 600kg (3.5 ton limit)
1 day	£45	£65
2 day	£85	£120
Per extra day	£35	£53

Whilst transport is not a very potent part of the recording process it is very important. Whilst the producers and engineers will provide their own transport, meaning zero costs on our behalf, should the band require transport of equipment or members extra fees will be required to cover the expense to the studio required by the van rental service as follows.

(All fuel expenses must also be covered by the client. Vans Sourced from Anker Valley Van Hire)

Talent:

Talent is hugely important in the recording; it will be the band that is playing on the tracks. After reviewing other material they have supplied as an example of skill I believe that they are going to be able to handle the song well. However should for any reason a member of the band be unable to attend a session we have access to other skilled musicians who can be used as a back up should the band deem it acceptable (this musician would then have to receive a share of the profits generated by the single). Our engineers would also be able to sequence certain parts of the song if the band wanted extra pieces on the track such as extra drum beats. This would also come in useful as a last resort should the due to some unfortunate inconvenience the band be unable to record certain tracks and we are unable to supply any substitutes. However this would most likely only be possible for backing tracks as lead tracks would sound too clinical if they were sequenced rather than played live.

Crew:

A small crew of 2-3 people per session should suffice, as one person should be using the mixing desk and computer software to record the tracks. The others should be setting up mics and other equipment. 2 people would preferable for this as if there are any technical issues then one can continue to set up whilst the other fixes the issue. We do have other crew members on standby should there be a problem that proves too much for the presently active crew, or if a member cannot come in for some reason. However we are confident in the ability of the crew, and should any technical issues occur we should be able to overcome them without too much if any trouble.

Should any technical issues occur that the staff are unable to solve in an acceptable time period clients will be a percentage of the paid fee dependent upon the amount of time either sacrificed or unused due to the issue, this can also be used as recorded credit for potential use at a later date.

Facility:

The facility we will be using is the aforementioned studio, our studio is moderately sized to prevent extensive charging to the clients, but due to the proportions of the work space and the precautions taken to ensure good sound quality, our recordings are always to an exceptable standard; thanks in no small part to the experienced team who dedicate themselves to the studio. The studio is sound proof to prevent any outside interference with recording; it also has mostly smooth flat surfaces in order to promote as much reverb potential as possible by creating smooth sound reflections. We also have access to selection of much smaller, cubicle type rooms. These could be used should the band want less reverb or a much closer tone to the recording.

Copyright Clearances:

Copyright is a huge issue when trying to create a commercially large cover, as many artists can react negatively to people attempting to what might be seen as ‘piggy backing’ of the premade success of the record and band in general. We will have to receive a mechanical license so that we can actually record the song, and a synch license to allow us to promote the song. These would be obtained through the owners of the song corporately as well as intellectual owners. In this case it is the songwriters, label, and producers of the song that would need to be consulted.

Due to the legalities of the copyright, the band may not receive a majority of the profits that the record generates. This is due to the fact that it is a cover record and so much of the profit will be required to be paid to the original creators of the song. The legal standard of royalties to the original songwriter is 50%, a huge margin. As a studio we will receive a royalty of around 7% made by the record, whilst this would once again reduce the profit the band themselves would make, as a studio we would do everything in our power to promote the single and assure the success of the band in the hope that the band would choose to use our services again so that we could replicate the success of the original project. Whilst these royalties would in fact leave the band with 43% to share between them, I believe it is important to consider the positive external effects that the potential popularity of the single by continuing on the current course for the release of the record, as when the band decides to release original material the profits will benefit significantly, this time with the band owning over 90% of the profits.

In recent days, some moguls and influential figure in the music industry have suggested that the rise of digital media and the Internet has killed the once beautiful music industry. One of these notable figures is multi platinum award winner Adele. Due to her incredible power and sway in modern music she has decided against putting her music on Spotify and other popular music streaming companies, preferring to have her music bought on real hard copies. Our band is relatively new to the music industry and as a result of this I believe it would be unwise to try to make a social statement of the situation of the music industry on their first single release as it could potentially damage not only the popularity and publicity of the release but also damage the sales in a knock on effect. However should the record cause the band to become well-known, controversial acts such as this can be considered as a way to advance the prominence of a band.

Risk Assessment

Risk Rating Score	Action	Review
1-2	No action required	Every 1-2 years
3-4	No action required, monitor	Every 18 months
5-6	Reduce risk if possible	Every year
7-9	Risk requires attention at earliest convenience	Every 6 months
10-15	Make interim arrangements, attend as soon as possible	After interim arrangements, every 3 months
16-25	Immediate and drastic action must be taken	Immediately

Studio Assessment

Where is the Hazard	What is the Hazard	Likelihood (1-5)	Who might be harmed	How will they be harmed	Risk Severity (1-5)	Risk rating (1-25)	Precautions	Communication	Review date
Recording studio, control room	Loose wires	3	Recording artists, sound engineers	Tripping over the loose cables, potentially causing damage to themselves and equipment	2	6	Tape cables to the floor/walls when in use to prevent tripping, keep unused cables wrapped up away from walking space	I will brief the engineers on how to deal with and prevent the hazard at the next available opportunity, I will warn clients who are using the studio to mind where they are walking as well as place signs around the studio to indicate they should be careful where they walk	11.2.17
Recording studio, control room	Damaged wires	3	Recording artists, sound engineers	Broken wires can be severe fire hazard due to the sparks they can spray, they are directly connected to the power	5	15	Immediately dispose of any damaged wires and cables, check the wires every time they are used	I will give a talk to the staff of the studio about correct cable etiquette, focusing on the importance of check every wire each time it is used	11.5.16
Recording studio, control room	Ear damage, dangerous noise levels	4	Recording artists, sound engineers	Ear damage, hearing impairment may be caused due to excessive noise levels	2	8	Supply fresh ear plugs to recording artists and sound engineers, this will prevent them from being subject to unusually loud noise levels. They must be fresh as to keep cleanliness standards high	I will run a staff briefing to make sure that the sound engineers are fully aware of the potential damage that can be caused to the hearing of our clients and themselves should they fail to use their earplugs. Earplugs will be supplied free as to ensure they are used.	11.8.16
Recording studio	Lifting of heavy machinery/equipment	4	Sound engineers	They could potentially have severe muscle injuries due to the strain incorrect lifting procedures can put on the back	2	8	Ensure that staff are being regularly remind that they must use the correct lifting procedures, and of what those procedures are.	Run annually renewed lifting safety program that are mandatory for staff to attend. This will ensure that they are kept aware and prepared for the correct procedures they must use when handling heavy items	11.8.16
Anywhere	Spillages	3	Anyone, Equipment	They could potentially slip and fall on any liquids spilt. This could result in them damaging themselves. Also fluids can damage the equipment in the studio which is something we would like to avoid	1	3	Make sure anyone entering the vicinity of the studio is warned that liquids are not allowed to be taken in to the Rooms. Signs may be put in place that show people that they are not allowed to drink near the equipment.	I will make sure the staff is briefed on the health and safety factors of having liquids in or around the studio. I will also ensure that anyone using the studio is warned not to take drinks in there.	11.8.17

                 

sequencing a pop song

The newest project we have undertaken is that of sequencing. The track we will be sequencing is Rather Be by Clean Bandit. We will be doing this via DAW (Digital Audio Workstation). The DAW we will be using is Cubase, a very popular choice and also the DAW we have used on all of our other projects.

How to setup a project


What is a DAW

A DAW is computer program created for the specific purpose of recording, editing/mastering, and playing digital audio files. They allow you to easily control and manipulate multiple audio tracks at a time as well as include some interesting and often very useful features for recording and/or editing. Eg; click track, tempo, a looper, as well as the ability to be linked to many different devices such as keyboards and mixing desks. They area aslo able to use different plug in softwares designed specifically for a DAW, we used some of these in our projects to create adio tracks authentic to the song. DAWs are also able to add effects and allow the mixing of individual tracks. This allows effects such as reverb and delay, more drastic effects such as tremolo and chorus, and EQ to be used. DAWs allow us to convert our finished projects into a variety of different file types, this allows us to then use our projects on a multitude of different formats. It also allows you to do this on individual tracks of a project.


Using Cubase to Sequence

We chose to use cubase 6 on this project. Sequencing on this software is exceedingly simple as there is an inbuilt key editor. This allows the user to quickly and easily input the notes from sheet music or other means in a variety of instrumental styles. The first thing to do is to create an appropriate track, in this case it is an instrument track. Then by simply double clicking on the track the key editor is opened. By using the pencil tool you can add notes of any timing and key via the axis which are labelled for each bar/note, and for every note.

Using a Mac

The mac has a very high processing speed and very smooth interface. This makes it ideal for creating a sequencing track on a DAW. Macs are also notoriously reliable and this means that it is highly unlikely that I am going to lose any work when creating or editing a project or individual track. Many DAWs have software designed specifically for macs, or at least with macs in mind when they're being created. This often means that when using a mac you will get the quality intended by the creator of the software, and in turn the quality you desire for you music.

Setting up a track with Halion Sonic SE

What is midi?

Midi (standing for Musical Instrument Digital Interface) is a type of computer protocol allowing electric instruments an musical/sound based software to communicate with each other. Midi allows entire songs to be created digitally, note by note. It also allows each individual component of a project to be altered, and also allows input from other software features. Midi is not the part of the project which actually creates the sound, it only provides the information for which notes should be played at which time. In the larger scheme of things this means that the actually sound/instrument being used to portray the notes can be changed at any given moment allowing for enormous amounts of musical fluidity in the creative process.

What is general midi?

General midi is a term used to describe a set of standard sounds and drums standards which are the basis for waveable synthesisers. These standards are used across many synthesiser manufacturers and sound based software to allow for the compatibility of devices from different producers via midi.

Using Halion SE

The Halion SE synthesiser is a very comprehensive synthesiser. It not only has a huge library of instrument and sound types, this allows a user to input sounds on a key editor or other hardware but make them sound like other instruments to allow for a variety of genres and styles to be used. It also allows the user to adjust each individual sound in a variety of ways. This can vary from more regular categories such as delay and reverb, to more exotic ones such as brilliance and vibrancy, volume and panning is also very easy to control using this with both being controlled by only a scroll bar which allows for a very easy understanding of the software. This synthesiser also allows for an electronic keyboard to be connected to the software and manually input notes. This can be very useful as when using the key editor to input notes it can make a track sound robotic and inorganic, using something like a key-studio keyboard allows the creator to input notes with a variety of volumes and timings, this can create a more 'acoustic feel' and can be better when sequencing genres such as jazz or reggae that require a more offbeat/organic feel. These can also be used to add effects to the notes such as modulation or pitch bend. However when inputting notes in this fashion they can also be edited post recording to in the key editor in order to fine tune them and make sure the track is more accurate and precise in order to account for human error.

Groove Agent and Mediabay

Groove agent and media bay were also vital softwares in the creation of the project. By using these two in conjunction I was able to create the percussive tracks to the song, including the all important drum track. Media bay is essentially a large set of samples from a variety of instruments, in a variety of different locations as scenarios, allowing users to find appropriate samples for almost any project. By listening to the original clean bandit record I was able to distinguish the sound of each important drum part, the find a similar sample for each on media bay for use in my project.

Then by assigning a new note designation to each sample on groove agent I was able to using a track equipped with groove agent to create an accurate drum track via the cubase midi interface.

Using the Key Editor

The key editor is the midi manager for cubase. It allows you to simply and easily input notes for at any note for a given amount of time. By using the 'pencil' tool, you can cleanly add notes to be played in a variety of styles and sounds.

Creating the Project

By using the score we were able to accurately recreate the song 'rather be'. By using all of the key features and factors of creation mentioned above we we were able to input each of the notes of each instrument and by using Halion SE we could designate the sound each track would produce, editing them slightly as to try and create an authentic piece. Due to fact that we were unable to sequence actual vocals with lyrics, we instead opted to use and instrument to replace the original vocal lines. I chose a muted trumpet as I felt it fitted the vocal line well, as well as suiting the reverb that I added to replicate the style of the original song. It was also vastly different from all of the other instrument tracks used meaning that it stood out in the project allowing it to be heavily distinguished. After the project was completed I decided to replace these tracks wit actual vocal tracks performed by Lauren Thomas. We recorded a lead track, backing track, and chorus double track. The double track had clipped during recording, as a result of this we decided not to use it, however I do not feel it deducted from the overall project by taking out. The main vocal track was slightly too quiet in certain points due to the gentle vocal nature of the performer, however this was easily solved by using EQ and compression. I also used EQ on the backing track to ensure it fitted the project well and did not over power any of the tracks that were intended to be more potent. Once I was happy with the levels of the vocal tracks I muted the trumpet tracks in order to put more focus onto the actual vocal, it was then that I decided that I should add some reverb to the new tracks as the reverb on the trumpet had worked so well. Once I had done this and listened to it I decided to remove the reverb from the backing vocal as I believe it took away from the lead track and slightly overpowered the combined vocals. Using this effect allowed created a feel to the vocals, and in turn the overall project, that was accurate to the original track.

https://soundcloud.com/user-401119215/rather-be-sequencing