Stupot

Fair enough. In that case, I'd probably sell my hoop if it meant earning considerably more than 10,000. That is not a lot.

I'm such a sell out.

yep you are.

no but remember having your musical integrity is far far more important than being able to afford a house or even food, christ i dont know why any band even takes money for a gig, they should just do it because they love playing, they dont need to live or survive off any money, they have something far more important........

Musical integrity is a carbon neutral foodstuff. Full of vitamins and goodness. Best of all it doesn't make you fat...quite the opposite in fact.

It does have a side effect. Makes people who live on it insufferable and pompous and write inaccessible songs that nobody listens to.

Can someone who earns less than 10,000 per year be considered to be a full-time professional in anything?

That's a part-time wage...

Yes. According to the Musician's Union, equity and the taxman. In other words the ones that actually count.

It's been estimated that 80% of pro musicians earn less than 10,000 per year. So I'm fairly sure that if they augment their income by licensing their music for ads, films and video games, they'll be able to bring themselves to treat comments about "selling out" from people who know absolutely nothing about their industry with the rich contempt they deserve.

that's just not true. in the slightest. the only way that statement could be true was if the only musicians who ever made any money were phil collins and sting or something.

sell out:

YouTube - Swiftcover Iggy Pop Commercial

are professional music circles like the magic circle? i hope so, that would be awesome.

I'm afraid it is true. Simply wishing or hoping it's not doesn't suddenly make it false. There are a great many pro musicians who make a good living without ever thinking about the charts, the brits, glastonbury or radio one.

I've been making my living from music for 35 years and never heard anyone who is serious using that term and actually meaning it. In fact, it's usually used as a sarcastic piss take when a friend or aquaintance picks up a lucrative contract or residency.

Yes it is like the magic circle especially when trying to get major radio stations to play your stuff. In fact, it's more like the masons.

The term "sell out" is exclusively used by amatuers, musos who can't get anyone to like their music and schoolkids. It's never heard in professional music circles or used by people who actually make their entire living and pay their bills through music.

So please, use the correct term- "sour grapes" or "green eyed monster" at a pinch.

theghostofcain is obviously stripey.

I don't recall the prodigy being banned from playing for wanting to "smack my bitch up"

For more provocative stuff from Bin Ladens' Daughter, listen to "Saddam's Hole"

Just wait till Terry Wogan hears Bin Laden's Daughter's song about his cock...number one beckons!

fixed tags

To the best of my knoweldge..... You can never get 2 mics perfectly in phase. It is physically impossible as it isn't just a matter of 1 frequency and waveform. They are out of phase in differnet parts. You can reduce the negative effects caused by this by alligning them more accurately in your DAW and/or using a phase allignment plugin but they will never 100% be in phase.

Not enitrely true. This is why they build stereo pairs and provide phase reversal switches on desks. Also look at the 3.1 rule in mic placement. If you're home recording, you're not likely to have a desk with a phase reverse switch but a good DAW will have them.

You can also eliminate phase by using a delay line, but as most budget/mid range delays take at least a millisecond to react, at anything less than six inches mic placement distance, don't bother.

If you want big guitars, use one mic touching cloth, then double or treble up the track in the DAW and re-amp the two copies and use radical on them.

Queen. Glasgow apollo. 1977. Awesome

Have a look here. CD Baby: How to Legally Sell Downloads of Cover Songs

All the steps are listed.

I like both as at least half of my income comes from playing 200-300 gigs a year as a covers act, although we do write and perform our own stuff as well, PRS and all that. The other half comes from my studio where I get to record some amazing original music from bands all over the North. For instance, we had Headlight from Aberdeen in before Xmas and their stuff is pretty damn fine.

There's no comparison between the two as they work (or should work) in entirely different fields. Weddings, dances, holiday camps and other lowest common denominator venues and gigs would be dire things indeed without pro cover acts.

Equally, I'd be disappointed to find a cover band in an original music venue or finding a grind core originals band with a set that lasts 20 minutes trying to play a wedding.

Horses for courses.

The Musicians' Union has launched its campaign against the use of music in torture.

That's James Blunt's career fucked then.

Sandi Thom

Amy Macdonald

Keith Jack

Fuck that, i'll be staying in that night.

I'm sure Sandi, Amy and Keith will get over your absence.

Try TuneCore: Welcome

do you have a website with samples?

We have two, both with a flash player with a selection of material recorded at the studios. Bear in mind the samples are fairly low res to suit the flash player.

Spoor Records here: Flash Page

Spook Music here: newindex

There's also a kit list and other details.

We're coming

So you are.

so a 10 track album costs 150?

My apologies. It's a daily flat fee of 50. However, if you're well rehearsed enough to do the tracking for a 10 song album in one 6 hour day then it would indeed cost 150.

Being more realistic, you'd need more than one day, but I don't think tracking five songs in a day is asking too much.

We do 50 flat fee then 10 per track mixing and mastering. No hidden costs, no pressure, great kit and room to record live.

Sadly, we're in Lossiemouth.

If anyone contacts you and says,"Yo, dude, I totally want to start a band." ignore them on the basis of people who talk like that are dicks.

Hi, I would recommend using a PC, you need as fast a processor in it as possible, running windows xp as vista is still a bit crap for music, 2gb of memory, a separate graphics card (not built into the motherboard) , a decent set of powered monitor speakers (M-Audio, Edirol minimum 100) then buy any version of Native Instruments Guitar Rig 3 you can get your hands on....You will not believe your ears.

Go for the rig kontrol version if you can afford it, otherwise go for one of the cheaper setups, you will have the best sound and recording setup available on the planet and your recordings and live sound will be astonishing. DO NOT go for an ancient tape/cassette system - you will suffer NOISE.

This is the future and if you ignore it you are missing out in my opinion.

I am expecting criticism.....bring it on

My goodness!! I must phone Abbey Road and tell them to shut up shop.

the stuff he did for:

Allstationsdown

Your Fears

Yashin

Dana Walker

Buried In Vegas

Older Set Light Our Kingdom stuff

and 'Patches' by Flood of Red, or whichever one he mixed before what he's doing now.

I mostly dont like how the drums sound, being a fan of as natural a sound as possible. But in some cases, mainly the older allstationsdown stuff and the SLOK stuff, the drums just completely dominate everything else in the recording. Apparently when SLOK sent their stuff to Josh from Sylosis to be re-mixed/mastered he was utterly confused by some of the stuff Nick had added in. (3 or 4 cymbals playing at the same time, for example).

I mean, I think Nick's a great guy and all that, and I'm not saying I could do better, but that is just MY opinion of his recordings.

Having listened to some of Nick's stuff, I found it pretty good. I know what you mean about the drum sound. If you add in more hits and sounds than a human with two arms and two legs can possibly create then it can sound unnatural, but that type of sound does suit some types of music.

I have to say I prefer a natural drum sound myself.

We are recording our debut EP at Exile next month.... why is that bad?

Nothing wrong with Exile. Pay no attention. Or you could re-mortgage your houses and have 15 minutes in Abbey Road Or Air.

Nick Weapon is based out in Banchory. Has his own small house/studio where bands can stay and record at the leisure without the pressures of an hourly rate.

that's where the advantage of a per song rate really comes in! If you want 4 songs done, you know you're gonna pay xxx. Because some songs may have a lot of extra hours work that most bands won't/don't appreciate! I would highly recommend Nick. As well as the bands i've already mentioned he also engineered (not produced) the latest Jonny Truant album when he was down in london helping out WellerHill. He has some great experience and is turning into a really good engineer/producer.

If you're interested i'd recommended getting in touch with some of the bands he's worked with or him himself. His myspace page is NSProductions.

Also, as for getting a good live drum sound - arsed. although yes it's good, you can give the kit that roomy sound without having to pay over the odds for a decent live room.

personally i think you should go one of two ways, either have a very good room for your recordings. OR just close mic in a dead room, and add any effects post production. I prefer the latter because although in one instance it won't give the best LIVE sound, you would want a different room for drums, than you would guitars, then you would vocals. OR have a VERY good room like a professional studio would have. But lets face it, using sound treatment on the walls and then adding any reverb you may want post production is FAR cheaper.

edit: i've seen no studios in Aberdeen area with what i would call a profesisonally built studio room. (isolated floor, asymetric walls etc)

Obviously not been near us then. On the other hand, we are 60 odd miles from Aberdeen!