The advantage of a live performance is audience interaction which often makes for a more appealing performance. A live recording often captures a triumphant moment in the performing life of a group or artist. The disadvantages are: no way to repeat mistakes and lots of background noises (coughs, sneezing, babies crying, papers rattling, etc.).

 

A separate recording session allows you to record when you want, at the pace you want; allows repeats or retakes in order to clean up errors, and with no background noise.

For the performer these often present a more formidable challenge than the music. Search our Products page for ideas.  Do you want black and white only or full color? Do you want the cassette in a simple plastic box or do you want it in an album? Perhaps you want to make a CD? Do you want the CD in a Jewel case, plastic sleeve, tyvek sleeve, or, perhaps a mailer?

3. Keep me informed of your thinking so that we�re communicating clearly. My desire is to provide what you want.

You can reach me, generally, from 6 AM to 9:30 PM, (817) 641-5100. If I should not be available please leave information on the voice mail. You can also reach me by FAX at (775) 924-4643. Email is [email protected]

4. Select a recording date (set a goal) as early in the process as possible.

 

 

5. Set a goal of having all artwork, liner notes, booklets, etc., ready at the time of recording.

 

 

6. Fund your project adequately. I will bill you (net 15 days) after you have received the finished product.

 

 

7. Typical recording scenarios:

If you want me to record a live performance, I�ll arrive about an hour before performance time, set up, and, generally, be as inconspicuous as possible. After the hall clears I�ll remove my equipment, return to the office, copy the master tape on to a standard audio cassette or CD and forward it to you the next day for proofing. If you like it as is I can begin duplicating. If not, I can edit the recording for you by re-arranging numbers, removing some extraneous noises, boosting or cutting the bass or treble (equalize it), fading out on applause, etc. When you approve the recording I�ll make a digital master recording which I then use for manufacturing. The finished product is usually ready within a week and can be shipped wherever you desire.

 

 

A typical recording session works like this: You set up in an area of adequate size (the more reverberant the better) and warm up working over any last minute problem areas while I set up (about 30 minutes). Then I�ll ask you to play your loudest and softest passages in order to set levels on the recording equipment. Recording begins. You can play a work as often as you like, and, if necessary, I can "splice" parts to provide a more error-free recording. It is important to limit extraneous noise such as that produced by air conditioning systems, any interested spectators, group members sliding feet on the floor, etc. We don�t notice those things during a live concert because the visual distracts us. But when listening to a recording all attention is focused on the aural and little things become noticeable. When you�re through, and after discussion with you about program order, splices, or anything else concerning the project, I return to the office where I�ll make a copy of the recording for you to critique. Upon your approval I�ll generate a digital master which is used to duplicate audio cassettes or to manufacture Compact Discs.