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

                 

The Production Characteristics of Black Sabath and AC/DC

Black Sabbath are renowned for being the fathers of Heavy Metal, effectively creating the genre with their first album of the same name, Black Sabbath. Original lead singer Ozzy Osbourne even went so far as to say "We decided to write horror music.". The dark yet bluesy tones of the band were a result of many factors which resulted in the generation of what we now know to be heavy metal. The founder and lead guitarist of the band Tony Iommi had an accident in his youth at a sheet metal factor which caused his fretting fingers to get slit at the tips. In order to overcome this he de-tuned his guitar to make it easier for him to play, this created the deep guttural guitar tone that is a staple in the heavy metal genre. Black Sabbath also house some of the first uses of the dibolous in musica titrone in modern music; a musical feature once banned by the church for being 'evil'. Ozzy Osbourne also switches between a very ominous style of vocals and a very heavy style in order to add to the demoniacally themed music. This is shown in the first song of the album, also called Black Sabbath, when he often breaks vocals to scream 'please no' at the mic. Geezer Butler, the bassist instead of playing the wild melodic bass stylings of a lot of music from the time of the albums release, plays heavy striking notes along with Iommi to add to the massive sound. On drums, ward shows his jazz origins by holding the rhythm section together and giving Black Sabbath some of the structure that it needed. Bill Wards style is shown to be what is essentially jazz drumming being performed in hard rock suit.

All of this can be potently heard in their first ever album, Black Sabbath. This album effectively pioneered the genre of heavy metal, and one of the most amazing things about the album was that it was recorded in only one day. Often they would not run through a song more than once for each instrument, and had Ozzy sing along in a separate booth. They also did minimal overdubbing to save time, adding only some extra guitar parts and some special effects such as thunder cracking.

Tom Allom, the man who ran Regent Sound in London where the album was recorded said that the album was recorded using a basic equaliser and an EMT140 Reverb Plate using a resonating metal plate to create a smooth and lush tone when compared to the spring reverb systems. It also gives the album a more ambient sound when compared to more recent albums as they tend to use reverb plug ins rather than actual plates.  According to Allom he used two mics per amp cabinet and an ambient mic where possible abour 20 ft away to try and capture the raw sound. Tony Iommi has also revealed that he used a Laney Guitar Amp but was unhappy with the sound and so started using a Treble Booster to give a good amount of overdrive to add to the already thick sound of Black Sabbath.

One of the main appealing factors of this album is the sheer raw sonic force that Black Sabbath brings to the table in a way that had never been heard before. As time progressed however, technology began to become more advanced and pristine music became more a more sought after in all genres. In their newest album '13', producer Rick Rubin asked the band to revisit the sound of their original album to try and recreate the bluesy origins a the Sabbath sound. Andrew Scheps the man in charge of mixing the album said that he immediately understood the idea behind the album, but that making the album sound sonically similar to the first Black Sabbath albums would have been a mistake as due to technology advancing so much, the album would not have been popular. He said "They work because they're classic albums of their time, but it simply is not what records sound like today." Implying that the main reason the Black Sabbath album is so popular because it as revolutionary and influential, and that trying to recreate the exact sound would make '13' pointless and stagnant. With this combination of the original Black Sabbath sound (complete for the first time since 1979 with Ozzy Osbourne), and new technology to bring out the best in the high and low ends of the band,'13' as received very positive reviews. One of the main ways in which they tried to keep the same tones of the original album was to record and mix entirely on analogue with a Neve 8068, this gave it a very rich sound according to Scheps.

In their 2008 album 'Black Ice' AC/DC used some similar techniques to Black Sabbath's first album. The EMT 140 was used on drums and guitar. Mike Fraser the man in charge of mixing the album said that although the band wanted the drums as unaltered as possible, he felt they would benefit from using the EMT140 to add some decay to the sound. He also used it on guitar when lead guitarist Angus Young was playing by himself in order to fill out the sound, however the rhythm and bass guitars had no effects on them once again in order to retain the organic sound the band wanted from the album. In that sense there are even more similarities as 'Black Sabbath' also had minimal effects on their tracks. However as 'Black Sabbath' was recorded in a single day, this may have been due to time constraints rather than by choice. Mike Fraiser also used a Neve desk as he said he enjoyed the immaculate sound it gave. These factors contribute to how AC/DC and Black Sabbath both achieved the new/classic feel.

In our own recordings for our BTEC course we decided to try and recreate the way in which the guitars were recorded for the first Sabbath Album. We did this by using an electric guitar, with a heavy distortion and reverb on it in order to create a nice crunchy sound. We used a dynamic mic (SHURESM58) on the amp, positioned at an angle towards the side of the cone in order to create a thiker darker sound. We also placed and ambient mic around 20ft away as Tom Allom did in the original album recording in order to create a nice big room effect as well as add some extra reverb to the sound. We used a condenser mic for this as the SPL were much lower at that distance and we found that it gave a better sound. We did not have access to a Neve desk such as that which was used in the recording of 13/Black Ice, so instead we substituted it for a MACKIE1640I desk which we ran through straight into cubase which we used to save the recording. I have uploaded both mic tracks separately to show how each mic picked up the sound differently.
                                                                                                                                    

In order to find out more about my chosen artist and album I skimmed and scanned three secondary sources to find out more about the technical aspects of the recording style used on the album, and how that compared to other albums of a similar style. I annotated these sources to find key information that I could use to make my article more comprehensive and detailed on the subject matter. I found out not only the equipment set up of my chosen album, but also why that particular set up was chosen and how it affected the recording. I also found out about the inspiration behind the unique style of the album, and how that has affected other bands over time. I also discovered how the album I chose affected their other albums due to how heavily influential it was.

The purpose of my research was to allow me to accurately report how the album was recorded and why it was recorded in that way. This also allowed me to customise my own recordings in accordance to what I found.

Source	Relevance
Sound On Sound Inside Track: Black Sabbath 13	This source helped me to compare the way in which black Sabbath have evolved their recording style over their years of success. This article was particularly helpful as it allowed me to see the real technical ins and outs of the album. This source was particularly helpful as Black Sabbath were trying to recreate their original sound in this album. This was good as the main focus of the article was the first Black Sabbath album.
Ultimate Guitar Tom Allom: “The Sounds On First Sabbath Albums Could Have Been Heavier”	This source was useful as it allowed me to get some decent knowledge on how the first Black Sabbath album was actually recorded; this allowed me to then recreate this in my own recordings by using the same mic techniques. It also gave some information on the equipment used to record and create effects in the album.
Popular Music The Key Concepts Second Edition (Book)	This book allowed me to read about some of the factors that really make heavy metal, as well as how it relates to other genres. It also inspired me to compare Black Sabbath to AC/DC.
Sound On Sound Inside Track: AC/DC Black Ice	This album help me to see how AC/DC record in a technical sense, it also helped me to compare their style with Black Sabbaths recording styles; old and new. It also helped me to see which pieces of equipment they both use.
Music Radar Tony Iommi Interview	This interview with Black Sabbath guitarist Tony Iommi helped me to understand how the band achieved their signature doom like guitar sound. And also what pieces of equipment he used to make a sound that was original to him. It was interesting to see how they used the same techniques and equipment for a long time.
Louder Than Hell (Book)	This book allowed me to see some of the inspiration behind the Black Sabbath Origins, and what led to them creating the sound that we now know as heavy metal.
Guitar World	This Source allowed me to see where Black Sabbath recorded their first album and also some interesting facts about some of the unique ways in which the band used to record and create a unique sound.