Recording Session Advice…And All That Jazz
I recently decided that I wanted to record a demo with my jazz band. We have been performing and booking gigs for a little while now, and we started to feel like maybe we could expand our horizons if we had a professional demo to give to prospective employers. I have only professionally recorded one song before, and it was in a friend’s studio. I never realized just how much goes into recording a demo until I was planning it myself. I thought this might be helpful, not only for those of you who are singers, but also for those of you who are writing your own shows/material and are planning to independently record your show’s soundtrack. Here was my strategy.
WHERE:
My first task was to figure out where we were going to record. The guitarist I worked with gave me a few recommendations, which helped a lot. After calling these recommended studios, I learned something that surprised me. A lot of recording studios are privately owned, and will not give you their exact location until you have booked with them. Personally, I didn’t love this idea. I understand client confidentiality, but I have to know whether my musicians can easily get to the studio! I had one musician coming from Manhattan and two from Brooklyn. One could drive to the studio, whereas the other two were relying on public transportation. If I don’t know the location of the recording studio, I have no idea whether a train/bus/other form of public transportation even runs close. After researching more studios, I finally settled on one which was not privately owned. They displayed their address on their website, and also offered a free consultation. I really liked this idea, because I knew it would help to actually see the studio and speak with the audio engineer before the session. So I called in and scheduled a free consultation for the guitarist and me to come take a look. We were very pleased with the studio, audio engineer, and price of their services (which is also very important). I contacted the other musicians after the consultation and discussed a date. We all settled on a date, and I contacted the studio to book the space.
WHEN:
When booking a recording studio, you should always ask what deals they are offering. Most times, they offer some sort of package deal (e.g.: 2 hours + 1 hour free). We were told that if we booked the studio from 10am-noon, we would get a third hour free. We were also informed to ask for one hour of cushioning afterwards, just in case we needed it. That way, the studio wouldn’t book a band immediately after our session.
REHEARSAL:
We scheduled a rehearsal prior to the recording session. That way we could go through the songs we planned to record and make sure we were on the same track. It would save time the day of the recording. Time is money, after all. We took notes and made sure we had a few extra tunes, just in case we needed them. The guitarist would also be supplying charts for the other musicians.
BURNING THE TRACKS:
Since I have never professionally recorded before, I was not aware that you needed an external hard drive to copy the tracks onto after your session. I assumed the audio engineer would simply burn the finished tracks onto a CD, and that would be it! However, during the free consultation, we were informed that you should bring an external hard drive. That way they can copy each individual instrument track onto the drive, and if you ever want to go back and fix anything, you can. If it’s all just burned onto a CD, there is no way of editing the tracks. I asked if I could use a thumb drive. The audio engineer said you could, but it would take an extra 20+ minutes, and he recommended an external hard drive.
I don’t own an external hard drive. So, I had to go about purchasing one. I called the recording studio to see if they had any suggestions as far as a brand, GB size, etc. They gave me a few brand suggestions and said anything around 60-100 GBs would do. When it comes to the space size on the hard drive, it all depends on how many songs you are recording. We were planning to record 6 or 7 songs. I looked online and finally settled on the Seagate Expansion 500 GB USB 2.0 Portable External Hard Drive. I am a Mac user, so I definitely had to make sure the drive was Mac compatible. Also, the computer used at the recording studio was a Mac. So that was very important. The external drive arrived a few days prior to the recording session, and I was able to try it out on my computer. Apparently, the hard drive I chose is not automatically compatible with Mac. After going into the Time Machine application on my computer, erasing the documents on the drive, and rebooting it to be compatible with Mac – it was all set. Don’t worry, it sounds a lot harder than it is. It was just a matter of clicking a few buttons, and my computer guided me through all the steps.
THE SESSION:
The day of the session, I tried to be as prepared as possible. I drank hot tea, sucked on lozenges, vocalized in the shower, etc. I got to the studio early, but waited outside for the other musicians, since the studio had a policy about your session beginning as soon as you enter. Once the musicians arrived, we were isolated in different booths for the best sound quality. There was a camera in each booth and a big monitor screen so we could see each other. I could also see the guitarist in the next booth, since there was only a sliding glass door in between our booths. I tried to make myself as comfortable as possible for the recording. I brought a bottle of water, asked for a stool, and wore my fluffy scarf. The session went really well, and everyone did a great job! We recorded for 2 hours, and then the bassist left, leaving the guitarist and me to work with the audio engineer. There was just one song that I decided to go back in and dub over, because I wanted to sing it differently. Everything went smoothly, and the tracks were all transferred onto the external hard drive. The audio engineer also burned a CD for us so we had a hardcopy.
TROUBLESHOOTING:
When you are working on any project, you have to be prepared for things to go wrong. When things do go wrong, don’t stress out. Take a deep breath and figure out the best way to solve the problem. Although everything went very smoothly, there was one big problem that occurred at the beginning of our session. We were supposed to have 4 instruments recording – vocals, guitar, bass, and trumpet. However, the trumpet player didn’t show. At first, I didn’t know what to do. I spoke with the guitarist, and we agreed to simply record the songs as planned, leaving space for the trumpet to be dubbed in at a later time. Sadly, I will now have to find another trumpet player and book the studio again. I don’t know how I would avoid this problem reoccurring in the future, since I did confirm with both the bass and trumpet player prior to the recording session. They had all the information they needed, including the address, time, etc. These things happen. I am definitely glad we have the tracks on the external hard drive now, because we will need them in order to dub in the trumpet.
I hope this post was helpful. If you have any suggestions, I would love to hear them! Also, if you have any questions, I will do my best to answer them. Good luck!
“Use the talents you possess, for the woods would be very silent if no birds sang except the best.” – Henry Van Dyke
Getting My Hands Dirty Again
Since autumn began, I haven’t done much theatre. It sounds more tragic than what it actually is: I’m getting my minor almost finished with. My B.A. Theatre major requires me to take on a minor and this semester, I’m really working on that minor in Creative Writing. I’m writing poetry, fiction, scripts…and with all the writing required, I haven’t had time to do any extra shows. Except the one I’m required to fulfill for the semester by the theatre department—Load-In/Wardrobe Crew for The Piano Lesson.
On your first day of school here in our department, we put half the freshmen down in the Scene Shop and half upstairs in the Costume Shop: we’re teaching them what tools we use, how we put the shows together behind the scenes. Last year, I was working as an Assistant Stage Manager, so this is my first time back building sets and handling costumes since freshman year. When I first came here, I underestimated myself and thought that there was no way I could handle these big machines and those whirling tools. I was afraid I would lose a finger and get my hair caught. It took freshman-me a while to learn how capable I really am and that was the first thing I had to remind myself of when I started again this semester: that I am capable and that I’m the one who should be keeping an eye on the freshmen, teaching them how to wet-blend the paint.
It’s been awhile since I was in the Shop but it’s nice to get my hands dirty again. I’m handling pneumatic staplers, drills, sorting through steel, using chalk-lines and tape measures, pliers, supporting ladders, carrying platforms down flights of stairs to the theatre, and painting. LOTS of painting. All the floor and stairs had to have:
- a base coat
- wet-blended
- washed
- grained
- and sealed.
As one of my freshmen painters said “we’re painting wood…to look like wood”. It sounds absurd, painting five layers of paint to create the effect of wooden floors but the end result looks terrific. I’d definitely recommend that everyone should have at least three sets of clothes and a pair of shoes that are tough, sturdy and can get dirty–I’ve ruined a good pair of dance pants the one day I forgot to change my clothes.
So that’s what I’m up to right now. I’m up to my neck in laundry because of all the paint on my clothes and my hands are covered in a mixture of paint and ink stains from my writing classes. I’ve deliberately not auditioned for shows because I’m just too busy: between writing, learning stage combat and focusing on The Piano Lesson, it’s been crazy. But at least the show is looking good. I can’t wait to see how good the actors will be once we put them in the costumes and onstage.
Anonymous Showbiz Confessions Post #9
All of this week’s posts are written by my fellow Green Room Bloggers (not myself…or are they?), but I have published them all under my username to protect their identities. Hope you enjoy their confessions!
Being anonymous, I guess this is the easiest way I could ever write about my fears, my doubts. Because I do have them—I’m terrified:
I’m afraid that I will never have a place to call my own, a place that doesn’t come with a deadline to move out by. I want a home that doesn’t wipe out my bank account and leave me worried about how the hell I am going to be able to buy food. In the meantime, there are loans that need to be paid back and the rent is still due. And I’m constantly packing my bags, moving to the next town where there’s work/family obligations/theatre/potential opportunities. I’ve gotten really good at packing over the last few years but I’m tired of living out of my suitcase at the same time.
Will I ever meet someone who loves me—and theatre? So far, all my significant others haven’t been theatre people and they don’t “get” what I spend so much time doing theatre. Ultimately, it becomes the deal breaker. My relationships never last long enough to become serious. I mean, I like being single and I’m okay with it now but the concept of settling down with someone, having a house together (provided that I get past this phase of living temporarily here and there)—maybe even kids? I’m not sure I want kids but will I ever be secure enough that I’d have to make the choice? I can’t even keep a fish alive right now.
Speaking of staying alive—I’m lucky to have no major health problems and to be young enough to depend on my parents’ insurance. That won’t last forever. Besides, I could break a bone during a fight call and be out of work for months or something. Shit like that happens. I take care of myself, physically/mentally/emotionally but even without worrying about my health, I’m per-occupied with my physical appearance. I had an ugly duckling childhood, my parents shelled out thousands for me to have braces. There is photographic proof of the battles I’ve fought with my hair. Even today, with relatively good self-esteem, nice teeth and hair dye, I’m still judgmental about my looks. I think I’ll never play the romantic lead, my face is prone to break-outs and I could lose a few pounds.
But the biggest doubt is the question of whether or not I’m a good actor. Am I, really? I have no musical training, a certain lack of rhythm when it comes to dance, all true but acting—I can comfort myself with the reasoning that I’m just a difficult type to cast or that I’m just a piece of the puzzle that didn’t fit but after certain auditions, I wonder if I’m just not a good actor and that’s that.
In that case, I think I’ll move back to my hometown to live there for the rest of my life, take monthly shots for my allergies, quit theatre, get married, become the town Historian and have four kids.
Anonymous Showbiz Confessions Post #8
All of this week’s posts are written by my fellow Green Room Bloggers (not myself…or are they?), but I have published them all under my username to protect their identities. Hope you enjoy their confessions!
Something that really bugs me is the amount of Disney shows on Broadway right now. No offense to the actors who are in those shows- you have to take work where you can get it. I mean, if I was offered a role in a Disney production tomorrow, I would be lying if I said I wouldn’t take it! I just feel Broadway has changed over the years, and not in a good way. I don’t know about you guys, but I grew up listening to “Into The Woods”, “Fiddler On The Roof”, “Oklahoma!”, “Carousel”, “Phantom of the Opera”, “Les Miserables”, etc. The kids of today are being exposed to “Mary Poppins”, “The Lion King”, “The Little Mermaid”, “Beauty and the Beast”, “Tarzan”, and “101 Dalmatians”. I understand the point of trying to get the younger generations interested in theater, but do we really have to do it by degrading ourselves in giant, plushy costumes? I also understand the fact that parents are just trying to get their kids interested in theater at an early age, and these shows are “safe”. I mean, shows like “Avenue Q” or “Chicago” are clearly not shows that are kid appropriate. However, why don’t we have more shows like “Annie”, “Rogers and Hammerstein’s Cinderella”, and “Peter and the Starcatcher”? I think children need to be exposed to traditional-style theater, rather than these Disney-movie-reenactments. My parents took me to see classics such as the ones listed at the beginning of this post. I loved the experience, and felt inspired watching the actors! I can’t help but wonder what kind of etiquette these shows are teaching the younger generation. I think parents assume that because they are taking their child to see a children’s show, it’s okay for them to talk, scream, cry, kick the seat in front of them, etc. during the performance. The problem is, what happens when the children grow up and begin to attend adult-based theater? Will they be the rude person that talks on their phone/texts during the show, puts their feet on the seats, or arrives late and disrupts everyone around them? I feel like there are more and more people lately who don’t know how to appropriately conduct themselves when going to the theater. Would they know better if they had been raised on tradition shows and taught from the beginning how to behave when in a theater? In the end, I feel parents need to educate their children by showing them the classics, and teaching them how to behave when in a theater. Instead of taking their child to see “Mary Poppins”, why don’t they consider one of the classic shows, such as “Peter and the Starcatcher” or “Rogers and Hammerstein’s Cinderella”? I’m sure the younger generation would still enjoy seeing these shows just as much. Plus, it would show them a new take on theater!
Anonymous Showbiz Confessions Post #7
All of this week’s posts are written by my fellow Green Room Bloggers (not myself…or are they?), but I have published them all under my username to protect their identities. Hope you enjoy their confessions!
I am over living in NYC. Well, kind of… sort of… I think the correct way of saying it is I’m over the bullshit that is existing as a low income artist (and person) in NYC. I love this city and I love the community I’ve made but I do not like the things that come along with being low income and the daily struggle of living in the most expensive city in the world. The roots I’ve planted and the community I’ve made are what’s keeping me here right now but I’m not sure that will be enough in a few years. Lately, I feel as if I pour all of my energy into empowering other people but I am not particularly empowered. I want to upgrade my life but am feeling stuck creatively and financially.
“Playing the indie-NY theatre game” for close to five years (defined in part as: auditioning for lo/no pay/ deferred paid work, self producing in leaky basement theater(s), self producing in festivals, being one of six hundred applicants for two spots of a “prestigious unpaid internship” at a “name theatre”, battling for funding, kissing the asses of people who are supposedly important…) has become so uninteresting to me in the last few months that I’m reconsidering another career path and having theatre as something I do for pleasure. I do not doubt my talent, ability or role in this industry as I am fortunate enough to have my “art” as a primary source of employment but I am questioning whether I want to “play the game” forever. I miss the spark and passion that I once had for this and I know it is not missing but buried underneath some of the truths I am realizing not only about this industry and the world (after all, art reflects life, right?).
Anonymous Showbiz Confessions Post #6
All of this week’s posts are written by my fellow Green Room Bloggers (not myself…or are they?), but I have published them all under my username to protect their identities. Hope you enjoy their confessions!
Confession: I have withheld information.
I was at an audition a few weeks ago for a one line role on a TV show. My male nurse character had to say a name that was Indian and not so obvious about its pronunciation. I knew this in advance, looked it up and practiced saying it right. At the audition, another actor going iin for the part asked “how do you say that?” Instead of telling him the correct way, i just said “I don’t know.” I felt a little bad later, because frankly this was the type of role that is going to come down to type, he was a muscular black guy. if he says the name right or wrong, it probably doesn’t matter, what matters in this casting scenario is who looks better with the two Indian people in the scene probably.
Probably. But the reason I didn’t tell him wasn’t so I would necessarily have an advantage, although that was a big part. It was because it was HIS job to know that, not mine to tell him. It was a one line role. You literally had to say 5 words, if one of them is weird, research it! I did feel a little guilty for not helping out a fellow actor (we all know we need as much help as we can get in all things). But in this case, he was my competition and he was unprepared, so if I did the work, that’s for me to reap the benefits.
I didn’t book it, and didn’t see him at the call backs either so, you know, whatever.
Anonymous Showbiz Confessions Post #5
All of this week’s posts are written by my fellow Green Room Bloggers (not myself…or are they?), but I have published them all under my username to protect their identities. Hope you enjoy their confessions!
Things I Don’t Like About This Industry/Job, In No Particular Order:
- I hate how much pressure there is to be thin. All the time. And always getting thinner. Real people don’t look anything like the way we represent them onstage or TV. Ugh.
- Why do producers expect actors to work for free when they’re paying everyone else? Double ugh.
- There are so many stereotypes that follow us around as actors: we’re dumb, we’re superficial, we are always broke, we are unreliable, we are irresponsible…you know, many of the actors in my life are some of the best people I know, so shut up.
- Cattle calls. Enough said.
- The lack of arts funding. Enough said on that one, as well.
- “Real people” commercials.
- The fact that it’s so incredibly difficult to get an agent without having big credits, but no one important wants to see you without an agent on your side. What the fuck is up with that catch-22?
- The lack of originality on Broadway these days.
- Movie stars who come do “little plays on Broadway” as a fucking diversion because they’re bored.
Okay, I should stop now because I’m starting to curse due to the fact that I’m getting a little riled up just thinking about all of the things about this business that irritate me. And yet, I still do it. Because it also fucking rocks a lot of the time.
Anonymous Showbiz Confessions Post #4
All of this week’s posts are written by my fellow Green Room Bloggers (not myself…or are they?), but I have published them all under my username to protect their identities. Hope you enjoy their confessions!
Pride in Type
I see a lot of “chorus girl” types day in and day out. You know the type: girls that can somehow rock the show makeup without looking like a hooker, six pack abs, legs that go on for miles… They line up at 5am to sign up for that leading lady role, can do a dance call combination without breaking a sweat, and are about 8-feet tall. Don’t get me wrong! It’s not all of them, some of my best friends and favorite cast mates fall into this type, and each and everyone of them worked hard to be where they are.
While I respect and appreciate their talent, I do not envy them. I am a character actor. That means for now I can settle for the younger roles, the alto lines, the best friend, or the comedic relief and take the back seat to the leading ladies. But in 7 – 10 years, watch out. It will be my time. There are so many big roles to be had!
Some of my favorites include but are most definitely not limited to: Madame Thenardier, Tracy Turnblad, Dolly Levi, Mrs. Lovett’s, Mrs. Potts, The Witch, The Fairy Godmother, and the list goes on and on. It gives me hope for the future of my career as an actor and pride in my type.
The Green Room 