Get your copy of the Guardians of the Galaxy soundtrack today FREE at Google.
Click Here to get your free copy!
It’s full of 70’s awesomeness.
Get your copy of the Guardians of the Galaxy soundtrack today FREE at Google.
Click Here to get your free copy!
It’s full of 70’s awesomeness.
I posted an interview with Gene Simmons of Kiss a while back. Below you will find John 5’s (of Rob Zombies band) take on the matter from an interview he did recently.
Michael MacLeod of Wolf’s Den Records says “I will tell you this, my experience is, it is getting much harder to make a living in the music industry. People don’t want to pay for music and even expect to get any music they want for free. Many venues are still paying bands what they were making 30 years ago or worse yet paying nothing stating “they are giving us exposure”. We as musicians and artists need to push for a change to improve our situation. I personally will not play for free or for less than what I feel my time, effort, experience and talent are worth. You wouldn’t ask a mechanic or an electrician to work for free or for exposure”.
So Wolf-pack, What do you think? What’s your take on this matter?
Here is the John 5 Interview.
JOHN 5: ROCK’S NOT DEAD, IT’S CHANGED
Rob Zombie guitarist says artists just have to work harder to keep it alive
Rob Zombie guitarist John 5 insists rock isn’t dead – but says it has changed dramatically in recent years.
Kiss mainman Gene Simmons sparked debate earlier this year when he stated: “Rock is finally dead. The death of rock was not a natural death. Rock did not die of old age, it was murdered.”
That comment led to a string of artists defending rock music, including Rob Halford, Joe Perry, Mark Tremonti, Corey Taylor, Scott Ian and Slash. Now John 5 has given his take on the state of the industry, saying although piracy is a problem, the music lives on.
He tells Icon vs Icon: “The industry has changed dramatically. It has changed so drastically, it’s like night and day. It’s not dead, but it changed. We just have to keep writing great songs and doing great shows to keep it alive.
“It’s not just rock. It could be rap, country or anything like that. Music is a tough business because there’s so much piracy out there. I know what it was like because back in the day, I was around when people were standing in line to buy a record. It has definitely changed a lot.”
But the guitarist, who released his eighth solo album Careful With That Axe earlier this year, says he wouldn’t discourage anyone from pursuing a career in the music business.
He continues: “I would say, if you don’t do it, somebody else will. If you really want it, just do it. If you do something to move closer to your career every day, even if it’s just making a couple of phone calls, you’ll get there eventually.”
Earlier this year, Zombie said John 5 was the only musician he could trust. And the guitarist, who is working with the frontman on the follow-up to 2013’s Venomous Rat Regeneration Vendor and the soundtrack to his film 31, says the pair are best friends.
He adds: “Our relationship couldn’t be better. We have such a great working relationship in the studio and on the road. We are like best friends, so it’s such a pleasure to work with him. I wouldn’t trade it for anything in the world.”
Some very touching words of praise from Jen L. who got her copy of our Album on it’s release day.
” The Wedding Album is amazing, I was driving home from work rockin’ out, doing the disco, and crying my eyes out all from the same CD. In addition to being blown away by all the hard work that went into this labor-intensive wedding favor, I have to say I’m so impressed by the technical musical talent! Truly awesome”
Some wonderful words From Bill H. about our most recent CD.
“Hi Michael! I gotta tell ya. I must have listened to yours and Mer’s cover CD at least 25 times… no exaggeration. All my kids are singing the songs on it and LOVE it. After listening to it several times, someone may just call it a cover album. However, I see your hand in it, and your personality shines through in every song. You two did a phenomenal job on this album. You really did justice to all of the songs on the album and succeeded in bringing your own originality to it, while preserving the integrity of all the songs. Kudos to both of you for your hard work!”
Being able to touch people in such a powerful way is why we make music. Compliments like these made all the effort of this album worthwhile. When someone appreciates what we do to this level we love to hear about it. So I’ve said it before & I’ll say it again. THIS is the reason we make music.
Many thanx to Jen & Bill for their kind words. It really excites me that yourselves and your families are loving the CD. Thank you!
You can get your copy of our latest CD here
Keep on Rockin!
So our new CD has a cover that should look familiar. We cover one song from the BAND that this cover is based off of. The first person to guess what song we covered from that band will win a copy of the CD.
HINT: The song we covered was not on the album whose cover we are paying tribute to.
This contest is open only to people who have NOT been told or seen our track list. Which includes those who have a copy or reserved a copy of the album ( I know who you are) So let some new fans win this one.
Like our Facebook page and answer in the comments section to win.
Michael & Meredith
Wolf’s Den Records
Michael MacLeod & Meredith Bailey are tying the knot soon. In 10 Days to be exact. To celebrate this momentous occasion they are releasing their first joint effort, an album of cover songs completely produced, arranged, sung, played, recorded, mixed and mastered by just the two of them. It was a huge undertaking and was done on a tight schedule, but it is a fun and amazing album featuring songs from 1957 to 1980. We are only pressing 200 copies (over 100 of which are spoken for already) so keep your eyes here on our blog, our Facebook page and Twitter accounts to pick up your copy. We will also be doing a contest giveaway to be announced soon.
How do you prefer to buy your music?
CD’s or digital Downloads?
Check out our latest Blog Post and chime in.
85 Percent of Music Sales in Japan are CD’s
It’s a well known fact that CD sales have been going down, and fast, for some time now. Ever since people got the internet in their homes and learned what it could do, the downfall of the physical disc has been on it’s way, whether it be by piracy or iTunes. However, it appears that in an increasingly digital business, there is one place in the world where the physical still reigns supreme.
Japan, the world’s second largest music market, is completely obsessed with CDs. In fact, of all music sales in the country, 85% are CDs, whereas in other countries, digital is the leader, or in progressive spots where streaming has now taken over, such as Sweden. If that wasn’t enough of a surprise, digital sales in the country have actually been receding for years now, which is the opposite for much of the world (though not for the US, where digital sales dropped for the first time ever this past year). In fact, while online sales reached $1 billion in 2009, just four years later they raked in only $400 million—a massive fall in such a short time frame.
While it’s odd seeing almost anyone buying a compact disc these days, it is particularly strange that Japan would be leading the world in CD sales, as they are typically an early adopter when it comes to new technology. The country is often years ahead of other markets when it comes to new phones, computers, and the like.
The New York Times reports that there are perhaps two main reasons why this phenomenon is happening: a “protectionist business climate” in the music industry and a cultural love of collecting things.
The Japanese public seems to be wary of digital sales when it comes to music, and it’s hard to say completely why. It may stem from a lack of options in the sphere, which are being held back by big businesses. Not only is rights management very confusing in the country, making licensing deals difficult, but companies also aren’t too worried about venturing into the digital space at the moment. Spotify and Rdio, two of the biggest streaming options in the world, don’t have a presence in the country yet.
In countries like the US, the move to selling music digitally happened out of necessity. That’s where people had gone to find their music for free, and it was seen as the only hope for an industry bleeding profits. In Japan however, while CD sales are declining, they aren’t going down anywhere near as fast as they did elsewhere, and they still bring in big bucks.
On top of that, the Japanese have a true love of collecting things, and this can help spur sales. Many stores and artists run promotions that encourage fans to buy more than one copy of an album, such as including tickets or special artwork. Deluxe editions and greatest hits do especially well in Japan, compared to the US where they usually only convince a few die hards to spend the extra money.
Tower Records, one of many mighty CD store chains that disappeared as digital grew, is still alive and well in Japan, with all locations bringing in a combined $500 million in sales a year. In fact, when the brand filed for bankruptcy and went out of business in the US in 2006, there were 89 locations. In Japan, there are still 85 in business, and no end in sight.
CDs may be on their way out, but they aren’t dead yet. The discs still account for 41% of recorded music sales around the world, which total around $15 billion. Like vinyl, there may always be a subset of the market that wants what only CDs can offer: a plastic case, a disc, and a booklet to go with their music.
He will be missed.”We here at Wolf’s Den will Miss Dick Wagner as well. R.I.P. sir.
He will live on through his work and his fans.
Check out an interview with Dick Wagner by Alice Cooper Here
First off, what is gain staging and why is it important?
Gain staging is the process of managing the levels of incoming audio signals to eliminate noise and prevent distortions or signal clipping as much as possible.
How do I address gain staging in my recordings?
Historically, in the days of analog recording, engineers would try to find a “sweet spot” at which the incoming audio signal was significantly above the ordinary analog noise floor but yet would fall just shy of clipping the audio signal during the loudest parts of the performance. This spot was often around the 0 db zone. This would result in tracks that were as hot as possible without clipping.
However, with the advent of digital recording, the recording noise floor has dropped to next to nothing – and the gain stage needed to change with it, too. Digital recording not only allows for, but basically requires, a far more conservative approach to recording levels.
This technique creates good-quality recordings with, by default, low background noise, and plenty of headroom on the meter. Often, plugins used during the mixing and mastering phases of recording will use some of that headroom, so if your initial performance was done at too high a level, the addition of plugins can easily push your performance into the dreaded “too hot” zone. The quality of your sound will suffer. Far better to record at a conservative level and make a track louder, if necessary, during the mastering stage than to have to over-compress and squash the life out of a good performance that was recorded at too high a level.
For digital recording, the “sweet spot” tends to be around -18 dB.
Proper gain staging also helps in the mixing phase of recording – in general, mixes turn out better when tracks are at low levels on the faders. If a mix is too quiet for you to adequately hear it, don’t turn up the faders on the board – turn up your monitors!
After recording, mixing, and ensuring that no signal-clipping has occurred in any track, bus all channels through a stereo master fader. This fader represents an aggregate of all signals being bussed to it from other channels, so it may very well be the case that it will have a very high signal, or may even clip. If this is the case, group all audio channels and turn them down as a collective unit until the master fader is at about -10 db. It should not be approaching the -3 db mark – don’t just turn down the master fader! This only masks the symptom of the issue without resolving the issue itself.
I hope this helps with your next mix. Good luck!
Hey, Wolf pack! Get your Free plug-in! Now through July 8,
Wolf’s Den Music loves to help fellow engineers and musicians get new gear and software whenever possible. Especially when it’s FREE.
Eventide is giving away their UltraChannel plug-in for FREE – a $249 value! Head over to Eventide.com and use the access code 0C4BA949 to claim your free plug-in. Share this post with your engineer friends – Like our Wolf’s Den page here on WordPress and our FaceBook page to show some love. Who wouldn’t want an awesome channel strip plug-in for free?
Wolf’s Den Music
We here at Wolf’s Den Studios are back from a brief hiatus out to Las Vegas.
I want to start getting into the tips and tricks portion of our blog and I thought a good place to start was with a question I hear often: “Is acoustic treatment really necessary?”
My short answer? Yes, otherwise I would not have just spent two weekends taking care of exactly that!
To answer this question properly – that is, my long answer – let me first discuss what acoustic treatment is, what it is not, and what conditions it works best under.
Let’s start with what acoustic treatment is not.
The only way to “soundproof” your studio is the same way big pro studios do it: Floating floors, floating ceilings, and multi-layer walls. Unless money is no object – and less face it, money is definitely a object for most of us – these sorts of structural changes are just not feasible for a home recording setup. But just because you are not in a big pro studio does not mean you can’t achieve a big pro sound – and that is where acoustic treatment comes in.
So what is acoustic treatment, anyway?
Acoustic treatment is something that will reduce audio reflections.
These audio reflections create uncontrolled reverb: undesirable echoes that can make a recording sound tinny, dull, or muddy. Getting rid of uncontrolled reverb is a key component of recording a clean, rich tone.
The point of acoustic treatment is absorption and diffusion of sound waves. Hard, flat surfaces, like walls, ceilings, and floors, will reflect almost all sound waves back into the air space of the room, where they will be recorded by an active microphone. By breaking up and softening these surfaces, sound waves can be “soaked up” to prevent their continued reverberation around the studio.
What can be used as acoustic treatment?
Here at Wolf’s Den Studios, our preference is for Auralex acoustic foam. This is sold in tiles or sheets, and can be found for reasonable prices online. It is a high-density, fire-resistant foam, with the fronts sculpted in triangle or wave shapes to eliminate flat surfaces. It comes in thicknesses ranging from half an inch to over 3 inches thick. The thicker the layer of foam, the better its properties for sound absorption, particularly of low frequency, bass-y tones.
Auralex can, however, get pricey: even a small room, when treating 4 walls, a ceiling, and a door, can add up to a surprising amount of square footage that needs to be purchased.
Some may opt for using egg-crate foam, of the kind that is commonly used on beds. While this is better than nothing – marginally – bedding foam often is not dense enough or thick enough to provide adequate absorption and diffusion of sound, so it wouldn’t be our first recommendation.
Very heavy drapes such as those used in theatres or the light and sound blocking drapes used in high end hotels can be an option, if you are fortunate enough to be able to acquire these cheaply at an estate sale or auction. If appearance is not important to you old mattresses will also be effective.
What should I treat, and where?
This depends on the function of your studio space. For recording vocals, a room that has 100% acoustic treatment coverage is best – which is one reason why vocal booths are often so small! For recording instruments depending on your room you can start with about 50% coverage.
For mixing and mastering, a good place to start is treating the surfaces immediately to the left and right as well as behind your studio monitors. I would also recommend treating the ceiling above your listening position. One method to determine acoustic treatment placement in your mix room is to use a hand held mirror held at the level of your studio monitors and place foam anywhere you can see a direct reflection of your monitors. More may be necessary but this is a good place to start.
But does it really make a difference?
I’ll let you decide for yourself. Here is a recording in our vocal booth prior to giving it acoustic treatment.
And here’s a sample of a vocal recorded after treating the vocal booth with 100% coverage of Auralex.
No effects have been added to these samples. The difference you hear is solely the result of acoustic treatment.
Is acoustic treatment the magic bullet that will instantly solve any problem in the studio? No – but proper acoustic treatment is a critical step in achieving a pro studio sound. With proper acoustic treatment, you are one step closer to getting a clean, professional sound in a home studio environment.