Thousands come to Nashville every year with the hopes of making it big in a couple months. More often than not, they go home disappointed – not necessarily because they aren't talented, but because their expectations were completely out of proportion.
In my years here, I've heard repeatedly that Nashville is a “seven-year town,” and from what I've seen in my career, and that of others, the reality bears this out. In this article, I'll delve into why that's the case and what you might be able to expect.
This article originally appeared on Haulix.
If the calendar wasn’t enough a reminder, then the falling temperatures have surely alerted you that the holiday season is officially upon us. Some of you have probably witnessed advertisements featuring Santa Claus already, and if you haven’t, I can guarantee that you will soon enough.
Every year, we see artists of all sizes from every genre imaginable try to leverage love of the holidays with cover songs intended to boost interest in an otherwise slow time for the industry. Some of those efforts works better than others, but we encourage them all the same.
This article originally appeared on The Recording Revolution.
Every time I crack open the latest issue of Sound on Sound or watch an interview with a top mix engineer sitting in his studio surrounded by racks of outboard gear, I’m reminded of one thing: Mixing is elevated above all other aspects of the song creation process.
Everyone is talking about “magic” plugins, summing mixers, and secret side-chain tricks. I get it. Mixing is a complex art form and it can make or break a good recording. That’s why I create some of the best mixing resources on the planet. (You can get started with this free guide.)
But perhaps we elevate it too much.
This article originally appeared on Soundfly.
Your music has been carefully recorded and painstakingly mixed, but there’s still one more step before it’s ready for the listening public: mastering.
Mastering is the bridge between the studio and the listening room; the last round of tweaks before calling it done.
But why is it necessary at all? “I wouldn’t have approved the mixes unless my music sounded exactly as I intended it to sound,” you might say. “Why would I pay someone else to keep changing it?” As it turns out, there are several very good reasons, many of which require some experience to fully grasp. Mastering, perhaps for this reason, seems mysterious to many.
Let’s pull back the curtain on this process and its objectives, bit by bit.