Alternate Take

Producing a CD is an interesting venture to say the least. It can evoke the most extreme of emotions, from delight to dread. The task is fraught with danger, yet rife with the promise of fulfillment. For the first-timer and those simply curious, I offer this beginner’s guide to CD production.

One precept you must adopt from the outset. Everything will take longer and cost more than you imagine. It’s much like having children, but without the in-laws. Get this through your head now and avoid the indigestion later.

You must start with a concept, something you can really get your head around, such as “Coltrane Solo Transcriptions For String Quartet”. Actually, that could work. Next, ask yourself if there is a market for your product. A reality check is necessary here. Will you be able to sell it to anyone beyond your aunt Shirley and her pilates class? Some people don’t care if they sell CDs and are only in it for posterity, and that’s cool. Just be prepared to have your inventory sit around in your basement for years to come, collecting dust and counting against you on April 15th. Does the word “coasters” strike a chord?

The next step for the intrepid artist is financing. It’s surprising just how easy it is to get people to part with their money. Compared to buying a car, CD production is cheap and you don’t need the insurance. However, you’ll probably get more mileage out of the car. I recommend you avoid borrowing from relatives. While it’s easiest to get money from them, you may end up paying for it in the future in more ways than just financially.

Now the fun begins. It’s time to pick a studio. One should shop around and be sure to get what you want at a fair hourly rate. I have very high standards. I tend to look for the studio with the strongest coffee and the best atmosphere. A couple of strategically placed lava lamps can do wonders for an otherwise dreary room. Good microphones are an absolute must and should be chosen for their shape and color. After all, you’re going to have to look at that thing for hours. Most importantly, I want an engineer that will do my bidding, no questions asked. When I say “Turn it up”, the response I crave is “How much”?

Here’s what we’ve been waiting for, recording . It’s time to lay down some tracks. Anyone who is unaccustomed to the studio will find this a daunting task. The studio reveals every single blemish in your performance, and you and your descendants are going to have to live with it for years to come. But don’t worry, relax. Due to a miraculous editing software package called ProTools, virtually anything you play that sucks can be fixed. Up until now, this has been one of the best kept secrets concealed from the public. Please don’t tell. One word of caution here. ProTools should be used sparingly, lest you fall into the trap of not being able to reproduce yourself in a live setting, such as a wedding reception or awards banquet. Believe me, someone will notice. The artist with integrity will abstain from abusing the power of technology whenever possible.

The next phase, mixing, is my favorite. Each instrument has it’s own track which can be isolated and manipulated. Volume, equalization and placement in the audio landscape are all subject to change until it’s balanced just right. This is usually where tempers flare and confrontations erupt. Everyone wants to be the loudest, especially singers and, yes, horn players. As producer, I try to remain objective for the greater good.. That never works-I’m the loudest. Mixing takes at least as long as recording if your serious about it. I wish I had a nickel for every recording I’ve heard where the playing was good but the mix ruined the experience.

Here follows the mysterious and misunderstood mastering process. Few musicians really know how this works. The recording as a whole needs to have a high signal without distortion so it’s as loud as other CDs and you don’t have to get up from the couch to turn it up. This is done in real time and takes some real time. If there are frequencies missing from the overall sound, say ultra highs, they can be brought out. The song order is assigned, spaces between tunes and fade-outs are employed. Finally, titles are ID’d so they show up on your computer when you’re stealing, I mean, burning discs at home.

You’re almost done. Packaging is what the customer sees first and it should emulate the music while enticing the buyer to purchase the product. You want the design to be classy and to reflect the quality of your music. Employ a professional. A picture taken by your girlfriend in the parking lot and copied at Kinkos doesn’t cut it. You get what you pay for.

At this point your exhausted, broke and fed up with the whole thing. You’ve heard the CD so many times you’re sick of it. Your ear focuses only on what you would have done differently had you more time and money. But cheer up, time is the great healer and I promise that the further away you get from the event, the better it will sound. Now shut up, put on a happy face and have your CD release party.