When groups prepare for a recording, they know they need to get their arrangements in order. They know they need to raise money. They know they need to book a studio with an experienced a cappella engineer and producer. But here are ten oft-overlooked issues for the group about to record. Plan for them before you walk in the studio and you’ll be a lot happier when you walk out.
Square Pegs; Round Holes. Very often people sing the songs they like to sing. That’s the karaoke approach to recording. Don’t do it. When you sing the songs that play to your strengths, that’s art.
Even the great singers of all time don’t sound good on all kinds of music. The excruciating sound of Pavarotti singing “Memories” comes to mind. One of the greatest operatic talents of our time, the King of the High Cs just didn’t have enough command of unaccented English by the time he recorded the track. The result was a comical I’m-a-gonna-make-a-you-a-nice-a-pizza-sounding catastrophe: “Mah-mah-rees”. I’m sure he loved singing the song, but that doesn’t mean that we loved listening.
In the late 90s, I was judging an ICCA in Illinois (with Eric Bradley, by the way, then of Blind Man’s Bluff –catch him appearing and singing a cappella in “The Breakup” with Jennifer Anniston and Vince Vaughn)”. We judges were tasked with evaluating several of the singers for the Best Soloist Award. We chose by far the least technically talented of the soloists to win.
Why? Because he was the most perfectly matched to the demands of the song. Exploding with energy and abandon he sold the audience and the judges on a frenetic, nearly punk version of “What I Like About You”. He was frequently out-of-tune, rhythmically independent of the group and his vocal “technique” embraced the wide world of both yelling and screaming. But we all agreed that the song sounded right in his voice.
His bold approach brought out the best in the material. The art transcended the limitations of his technique and made him into a great soloist, at least on that song. On something like “Lonesome Road” it would have been abominable, but that’s the whole point. That soloist (and group and musical director and arranger…) landed the win by choosing wisely and making art.
The moral: No one sounds great on everything but almost everyone sounds great on something.
Planning a great recording often means changing songs to match singers’ strengths or changing singers to match songs, or both. There’s no law that says you can’t double the high note with a different singer or change the tempo for just part of a song.
Think out of the box. Hell, think under the box. Throw the box out. Burn the box! Just be honest with yourselves about what makes you shine and then record that and only that.
Not so sure what you shine on? That’s actually pretty normal. That’s what your producer is for. But if you don’t have a producer, ask anyway! Ask friends, enemies, musicians and strangers. Ask strange musicians.
Though something can be gained from all opinions, producers’ opinions are generally better because 1) these are people you trust and respect; and 2) they know how to turn both compliments and critique into useful terms. While your roomie may say “Dude, X isn’t such a good song for you,” a producer may say “X would sound perfect if you could just hit the high notes in full voice; let’s try it down a step and compare that with having the whole section join in on just that note.”
All that was step one.
Sherpa Tracks. The sherpas are the ones who take the best climbers in the world and help them safely traverse the ascent to the top of Mount Everest. Without them, most of the climbers agree, one wouldn’t stand a chance of making it up and down alive. You too need sherpas. In a cappella land, they are called guide tracks.
On nearly every quality a cappella recording, the singers’ get their pitch and rhythm from guide tracks which play in their headphones. These guide tracks may have instruments and drums, none of which end up on the recording. The tracks are usually created in a midi program so that pitch and tempo choices can be easily altered. (The most notable exception to this rule is barbershop where guide tracks can often do more harm than good.)
Many groups already know they need guide tracks. But they forget what guide tracks are really for. They search out midi tracks online or have someone convert the complete arrangement into midi (a simple task from a computer notated score) so that there is a piano, let’s say, playing each sung line. That can work out fine in some cases, but it can also frequently be a disaster.
Pianos don’t sound like singers. Duh. The why is important, though. Each note is generated by several strings of slightly differing pitches. That makes getting a pitch from the sound of a piano a little non-specific. And every note begins louder and fades away. Normal for a percussive instrument, not so much for a vocal line. And sometimes hearing a computer generated piano precisely plunk your part gets in the way of singing it with any kind of groove. Computers have a way of sucking the life out of a musical line. You don’t want that. You need to hear just enough to get the pitch and groove, but not enough to get in the way of your own musicality.
I have found that just playing rolling chords on downbeats over a percussion track with a groove works wonders. There are times when a difficult skip is coming and you may want to play that or even anticipate that by playing it during a rest prior to the skip. But whatever your approach, guide tracks have to be tinkered with not until they sound right, but rather until they get the singers listening to them to sound right. After all, that’s their only job. Less is definitely more when it comes to guide tracks.
Rehearsal Time Is Only Free Outside the Studio. So you’ve chosen a producer and with the musical director reworked your entire repertoire to show off all your best features. Now you rehearse. And you rehearse again. The whole group sounds great together. All done? Nope. With the possible exception of some fine barbershop, most of the great a cappella recordings are recorded one singer at a time. So now you have to rehearse each singer alone listening only to the guide track and the lead.
Do they still sound great?
Usually, not right away. Singing background parts alone is a different skill than doing so in a group, and probably one that your singers haven’t had much practice doing. If your singers can nail it alone, they’ll sound fantastic when they’re standing in front of the mics. But if they can’t do it in rehearsal, that’s going to waste a lot of money behind the mic. And when it does, you either have to get more money or cut corners on something really important.
So while you probably know you need to practice, remember that you need to practice what you’ll actually have to do in the studio.
Plan To Record In Order of Importance. What’s the most important part of the song? For contemporary a cappella it’s probably the lead, then the beat, then the bass then the backups. If so, record in that order.
If you are going to run short on time (and you probably will run short on time), you really don’t want poor planning to affect the quality of the lead performance. Ensemble, shmensemble. For most people, the lead will make or break the song no matter what else is going on behind them.
Don’t get me wrong, if your backgrounds suck, people will notice. But if your leads suck, that’s the whole deal. No one will even care if the background was sung to perfection or not. Game over.
By recording in order of importance, you are most likely to spend the most time on the most important components of your music. This is a way to stack the odds in your favor before you even walk in the door.
Method to the Madness. Let’s say the musical director hates a new musical flourish that the soloist has added which changes the arrangement slightly. The soloist loves it. 75% of the group members who showed up today like it, but it’s well known that the ones who had a conflict with today’s rehearsal hate it. The business manager loves it, but the arranger hates it. The five guys who loaned the group the most money to make the CD hate it. Who makes the final decision in the studio?
You better know the answer to this question before you walk in the door. The engineer will happily watch the time tick away and the bills rack up as you guys have a blow-up over whether the musical director can tell a soloist how to do his solo or whether democratic votes are the fairest way to decide things and whether a special meeting via email should be called and who asked the business manager anyway and shouldn’t the arranger decide what happens to his own arrangement that he slaved over for a month… blah blah blah cha-ching.
Aside from saving money by not discussing this on the clock, the group can also more easily and rationally decide this issue when it’s being discussed in the abstract, before there’s a particular issue, and particular egos at stake.
Pro groups usually turn to a producer here. Collegiate groups don’t hire producers often enough, but that’s a tide that’s been changing in the last few years. Most of them go for the producer-engineer combo. That’s not always the best result since both tasks require different approaches, but it’s still way better than no producer at all.
Producers know and respect your music both as it is and for what it can be. They know enough engineering to talk to your engineer about effects and enough music to talk to your director about arranging. They can tell you when the take is good enough and when it needs to be perfect. No group hears itself the way others hear it. Producers are your ears.
Nothing Costs What You Think. Cost overruns are a fact of life. You need to plan for the costs of recording time, artwork, mastering, duplication, legal rights (this is absolutely necessary before a duplicating house will copy your CD, so don’t think you can skip it) and shipping. Whatever your plan is, it’s fair to add 20% for when things cost more.
Also keep in mind that when your budget is tight, your deadlines shouldn’t be. Nothing adds more cost to a project than the demand of getting things done “in time for the big spring concert”. Engineers staying long nights may charge overtime or just work less productively. But conversely, groups willing to record at the engineer’s convenience should try to negotiate price breaks. Fast duplication and overnight shipping will add obscene amounts to your cost. By contrast, if you can be flexible because you’ve thought ahead, you are in a position to bargain.
Freddie Feldman of VOCOMOTION.com has a great written guide to help you plan out your recording schedule and budget. You should also read Freddie’s and Bill Hare’s columns on CASA.org. They’ll help you get the most from your recording budget.
Master of Your Domain. Part of what makes recordings sound professional is the mastering. The volumes, the final EQ, the way tracks sound compared to one another…it’s all a part of mastering. This article isn’t trying to explain what mastering is all about, but instead to tell you that you’ll need to plan on the expense of mastering.
If you don’t, you are very likely going to find that your recording sounds a lot less professional than the recordings that inspired you to be a singer, join a group and make this recording in the first place. Your recording will last a long time. Don’t cheap out on what makes it listenable.
Shiny, Happy People. Before you start the recording process it’s a good idea to get the group together for a bonding session. Everyone has to understand that you are working hard and working together as a team to create a great project that will far outlive any petty squabbles that may be going on. This recording will be a legacy that may literally last beyond the life of any member or even the group itself. Your tracks may be selling on acatunes after you have grandchildren. So no pressure, but it’s time to work together!
Now is the time to remind people why they’re doing this. It’s a labor of love. There are lots of bonding exercises used in theatre training. Whether you use these or just have a heart-to-heart, now is the time to feel the love.
Not so touchy-feely? Maybe dollars matter to you. Many otherwise reasonable people freak out under the pressure of the studio. The money, the time, the pressure, everyone wanting them to just sing the part right already... That bonding session you all did before you got inside is going to help save the group money (and stress) once you hit the studio. Saying “team” doesn’t do that much. Feeling like a team, knowing that your group-mates have your back - that goes a long way.
The Show Me State. People can easily get confused and depressed during recording because they have a hard time picturing what’s been done and how all the little pieces fit together. That is not the state you want people to be in.
As corporate as this may sound, a big colorful chart showing what’s required in the recording of songs and what’s left in the project can help people see how much progress has been made. You want the whole group to see when you’re ahead or behind schedule and it serves as an important reminder for those who wait until the last minute to do things like, say artwork or text layout or the CD’s thank yous or, yes, licensing all the cover songs.
It also reminds people that they have to sing their solo on Saturday, not just that they have to sing back-up. What’s the difference? Perhaps, for some of us, choosing not to drink and scream the night before.
If you really want to plan ahead, assign a little more than you can accomplish so that if someone shows late or gets sick, you’ll never have wasted studio time.
The chart can also help everyone catch flaws in the plan. Like “Hey, Bob can’t record the VP in week 3 cause he’ll be studying abroad” or “Hey pitch, our rival group just released a hot version of song Z, so let’s not record it.”
No one can tell you the bridge is out if they don’t see what road you’re taking.
Back It Up, Back It In: Let Me Begin. Back-ups have to be part of the plan. Don’t do a damn thing without backing up. If it costs more, do it. Back-ups are not a waste of time.
Any back-up is better than none. The best back ups are removable and do not “live” in the same place as the original. As an example, it’s a great idea to back-up your tracks to a back-up hard drive in the studio, but it’s even better if that drive is off-site. An unexpected power surge, or flood could easily damage all the drives in a given location. If you have the chance to save the data off-site, you have diversified your risk.
Admittedly the risk is low, but the damage of losing a year’s work is unbelievably high.
In Conclusion: What If? Recording a CD is a serious commitment of a group’s time and money. Your plan isn’t well-laid unless you know the answer to “what if?”
What if someone leaves the group? What if that person’s parents contributed or loaned money to the group? What if it takes longer than expected and costs more money? What if, as mentioned above, the session data is lost? You should know who owns what and who pays for what in all these situations.
If your studio loses the data, is it your problem or theirs? Do you get store credit? Or do you get your money back? Do you get a discount on future hours, or is it too bad so sad?
If someone leaves the group midway on the recording process who decides if their solo stays on the CD? Are they entitled to any proceeds from the sale of the CD?
In ten years, when the title of your album gets easily confused with the soundtrack to a then popular movie and your acatunes sales unexpectedly skyrocket, who gets the money? Will it be the music director? The old group members that sang on the recording? The current members of the group? The parents that lent the money? Think about it.
Put all these questions down on paper (Paper. Ha. On your laptop, then print.) and put the answers down next to them. Make sure everyone understands what you’ve all agreed to, and where necessary draw up contracts and sign them.
There’s a lot of money on the table and it’s always better to work out the deals and the details before you start the project. I recommend a lawyer. Probably because I am a lawyer.
But even if the economics don’t make hiring a lawyer possible, it still pays to do your best to put the complete understanding down on paper. That way, when issues arise, people know where to look and what they agreed to and no one can hold the project hostage or put it in jeopardy. Once you’ve talked these questions through, once the group has its plan and everyone is on board, you’ll have a team working towards clear goals, you’ll know the answer to what if and you’ll be ready to go for the gold. Add as favorites (89) | Quote this article on your site | Views: 3926
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