Moe's Exam

You are a contractor. There is no job to apply for after you graduate. Developing relationships and doing good work

Make the most of your time here and the studios you have paid for. Treat your assignments as though they were outside productions and include them in your reel. Impress your professors If you have studio time outside of your assignments, record yourself or your fellow students. Start professional relationships with people in the program, engineers and people who are going into the business end. Post your productions. Word of mouth

This is a marathon not a sprint. Go out and see bands, artists. Make friends Every artist loves to hear how awesome they are. Let them know you are a professional If asked, talk up your productions, whatever they may be. Maintain the relationship, be a fan at first. Wait and be cool.

Canadian Music Week and Indie Week Don't be unrealistic about immediate results Go to panels, ask questions, meet panelists? Go see as many bands as possible. Go see bands that you have some chance of working with. Try to meet people in the business if you can. Let them know you are a producer but don't hustle them. Be ready to describe your projects in a provocative fashion. Everyone is looking for the next big thing. Buy a drink for someone if it's appropriate

Look for bands that interest you and ‘like’, ‘follow’ them. Let them know you are a producer and give them some positive feedback. Don't criticize someone who hasn't asked for it. Facebook Groups (Canadian Underground, Hip Hop Events In Ontario, Toronto EDM) BeatStars Airbit You Tube Soundcloud Meetup

This is a prestigious school. Younger artists will be impressed. Maintain your contacts from the school. It's who you know

Yes, but. Can get experience and demo reel. Don't assume the band can't pay you. Per diem? Other ways to get value for your work are to get your credit on the back of the CD or in advertising. Ask them to put you in their press release. Don't get a rep as the free producer. Should I produce anything? Sure, why not?? What else are you doing?

Can be the most difficult part of songwriting You are communicating a message Lyrics should to be musical Music can enhance the meaning of your lyrics

Says something people can relate to and says it in a unique way, Married intimately to the music of the song, Reflects a feeling or sentiment that the writer can speak to with authority and authenticity, Tells an interesting and compelling story, Has vivid and evocative imagery, doesn’t tell it shows

Is an overused expression that has lost its meaning or ability to invoke emotion from the listener.

Imagine saying the same thing in a real conversation Find words that mean the same thing, Write a line out 10 times, Morning Pages

Is everything you do with an artist before you get to the studio.

Demos., Are these songs good enough to record?, Evaluating them as musicians., Which songs are fine, which ones need to be worked on and which ones could we pass on.

Start with one to two songs per rehearsal., Constantly reinforce your new arrangements., Don't overload the band with information., Make a rough recording of the new arrangement., Pass that recording around to each member of the group

Start with song one and begin examining the issues you have with the song. ONE AT A TIME, Systemically address each part of each song that you feel needs work. Use our production elements., Ask the band for the answer. Include everyone in the process, SOME SONGS ARE GOOD THE WAY THEY ARE. YOU ARE STILL DOING YOUR JOB IF YOU ACKNOWLEDGE THAT

Go step by step with each instrument and listen to what they are playing in relation to everyone else., Is everyone playing 'the song' or playing independently?, Tighten up the rhythm section. Establish patterns., Is the musician contributing to the dynamics of the song?

Make sure the song is in the right key., Be sure that changing the key works for the rest of the musicians., Does the song need harmonies for sweetening and dynamics?, Your singers must commit to their parts. Work them out in advance-use an instrument.

Tap out a tempo once the groove has been established., Use this as a reference when you get the final tempo in the studio.

First, your evaluation of the demos. All of the songs and notes of what you liked, what you didn’t like., All the changes you've made to the song. The arrangement in sequence. All of your overdub ideas, Song title with key and tempo. Your recording sequence, all the elements you are going to record.

Have songwriter give you print outs of all lyrics., Identify logic inconsistencies, cliches., We would rather not re-write lyrics while recording the vocal.

Evaluating the material, Setting up a rehearsal schedule, The Process, Is everyone playing a good part?, Vocals, Tempo, Taking notes, Lyrics

Creating the illusion of a live performance

Everything that is recorded in the live room off the top of a session. Set the whole band up Set tempo and click Set up headphone mixes Check headphone bleed First take. Take notes Edit drum takes scratch tracks! tune up

The other elements of the recording that weren't recorded during the beds. Usually done one at a time, In the control room for best communication Make sure all headphones from the bed sessions are unplugged

Record amp and DI, edit between takes

Start with the instrument itself, intonated and in tune. Getting sounds, guitar, amp, pedals, mic, pre amp Start at the source Different sounds for different sections of the song, solos, ad lib guitars Layering Should you take a DI?

More adventurous with sounds, Make sure sounds cuts through beds.

Live keys or MIDI MIDI allows you to fix mistakes and replace the sound Drawing notes

Record in the live room

Comping vocals, Capturing a performance

One at a time, Gang vocals Doubling harmonies will depend on the context

Use for dynamics and to create a groove, The same environment as the beds

Do rough mixes and make sure you have everything you need. DO WHAT IS NECESSARY TO GET YOUR TAKE