Someone Order Delivery?

Delivery, or What to 'Take Out' of your Act:

"It may not be a song that's bad
It might be the delivery
I'll tell you all you need to know
So come take my advice from me..."

____________

This week we'll talk about style. Now, here I don't mean to go on about fancy clothes and 'bling' of all kinds, I mean to discuss your musical style of Delivery. (definition below)

When a singer is singing a song, if they're any good it's probably because they are doing one (or both) of two key things: they're either doing a great job of imitating the song's original interpreter or singing it 'their way,' with their 'Voice.'  If you cover a song, you have the same two choices - either sing it like you heard it on CD/Radio, etc. or with your own style and interpretation. The Delivery that I'm talking about is akin to your Voice.

Your Voice is what makes you sound like you and only you (or like that famous singer your friends say you sound like). Your Voice is like your Instrument. You can choose it to make sounds in any timbre and material resonance combination you desire (and are physically able to reproduce).

Your Delivery is HOW you use that Vocal Instrument.

When I was a child, my father often pointed out to me the ways in which singers like Sarah Vaughn and Ella Fitzgerald 'elongated' their words and lingered on vowel sounds (like eee, ooo, ahh!), and that this method of Delivery is what set them apart from other singers in Jazz. He would punctuate this remark by reminding me it was a technique of singing that was shared by many of the best singers out there.  Because of this lesson, I've listened attentively to the Deliveries of many Jazz, Soul, Rock, Folk, and even Opera singers, and come to notice the same thing he was talking about. It's all in the Delivery. Have you ever listened to an 'alternative take' of one of your favourite songs? I'm not talking about a second rendition, but actually of a second version.
For example, sometimes a singer will be presented with a 'studio band' and have to rework the VOCAL PHRASING of a song that might have been composed a capella, or on a single instrument. Where their Voice will navigate through the new studio band arrangement might vary slightly from take to take, until they mysteriously decide on the 'magic' take of that track and move on to releasing it as the, let's say, "album version." Listening to 'alternate' versions of you favourite songs, for me, is always interesting and can often add insight to the song's implied meaning.

Take a listen to two different versions of "Ruby Ann"
by Marty Robbins (most famous for his song "El Paso")
http://www.youtube.com/watch?v=gMXEyahRL6c
(Video found on YouTube.com)

You can probably tell the main differences between the two versions are the tempo and saxophone, but for the sake of this ShoeTrou Blog I'd like to point your attention at the vocal performance.

The first is a bit rushed and the syllables don't quite fall correctly on the beat, etc. Don't you think? I'm sure some people may disagree, but anyway, the second version was the one that earned Marty #1 for a week on the Billboard Country charts and a 'cross-over' #18 on the Pop chart. I wonder how far the first version might have taken him? It's hard to say, but it seems likely that the second version better demonstrates Marty Robbins' ability to do "an extraordinary job of swinging with a cool, easygoing command of the groove" (Allmusic.com) and make it his 'good' version.

(between these two, I'd pick the one on the right :)

I suggest you join me in working on vocal Delivery, noticing slight changes of rendition in your recorded attempts, working to be more aware of how the way we sing affects the conveyed meaning of our lyrics, and more.

So order some Delivery and do some tasty active listening. It's good for you!

~The ShoeString Troubadour.

Delivery: De-liv-er-y. 6. a. Utterance or Enunciation. b. The act or manner of speaking or singing. (TheFreeDictionary.com) 

The Audacity to Begin

This post is all about do-it-yourself music recording. I've just graduated from a college program in Digital Music Production and can assure you, with a little time, you too can bring your audio visions into reality with just a few simple ingredients.

First of course, since we're talking digital here, you'll need a computer. The name of the game is RAM, or processing speed. Most software out there keeps pretty close to the boundaries of the most modern processors, so be sure to have the right software-to-processor power ratio in mind. Really, you don't need the latest version of the software in question, especially if your computer can't keep up with it. Many of the most popular recording software options share the most common features you'll be using when you first get into it. In fact, some of the features that come with the latest updates you'll probably never use!  The point is: you want your software to work smoothly and not grind to a halt due to CPU limitations. This said, most computers built in the last two years should be more than capable of handling what you put them through.

A great place to start is with a great FREE program called Audacity. If you're into this kind of stuff already, you'll probably have heard about it. It's a free (did I mention it's free?), open-source audio recording program that is perfect for introducing the basic concepts of audio editing that are elaborated in other, less-free, audio editing programs.  Remember though, 'free' does not always equal 'freedom,' and the more robust "Digital Audio Workstations" (a.k.a. "DAWs") such as Cubase, Pro-Tools, Reason/Record, Abelton, etc. offer superior 'workflow' (erganomic usage), Audacity is really quite good if you're looking to jam out some tracks or do minor editing on pre-recorded stuff. Do you have the... audacity?

Here's a link to the Audacity site:
http://audacity.sourceforge.net/

Even if you have one of the other programs I've mentioned so far, it's well worth getting this (free) program on your desktop. If you download the additional 'Lame' .MP3 encoder, it becomes a great converter for all your .WAV, etc. files.

The Lame encoder plug-in link is:
http://lame1.buanzo.com.ar/

Another popular audio editor/recorder is Reaper. It's actually an acronym for "Rapid Environment for Audio Production, Engineering, and Recording. The beguiling .fm suffix refers to the 'Federated States of Micronesia'. Why do they base themselves out of a remote Pacific island chain? That's just part of the magic, folks.

It's pretty cheap too. After the 30 day free trial, it will either remain free (with limitations), or you can buy it for around $70 (last time I checked)

There are many great tutorials about Reaper... here's one:
http://www.youtube.com/watch?v=iAUwDhtEono&feature=related

Well, I think that's good enough to get you going for now. Remember, when you're on a budget - do your homework! There are zillions of tutorials and reviews of these and other audio editing programs on YouTube (also free) and by Googling the proper keywords.

If you'd like more links to these things, requests will be responded to when you leave comments on this or any other blog post I write.

Until next time,
~The Shoestring Troubadour.

It's Not the Words, it's the Feeling?

It appears as though a good place to start would be with the obvious: The Digital Trend.

Is it a trend?
Is it the Future?
Is it the end of the way it was then,
Since you now do it on your computer? [I will rhyme periodically].

Well, according to some it is the Future, and record companies had better step up and quit whining about the 'good old days'... or else! Some spry entrepreneur, like another Mark Zuckerberg, might sweep away what's known, with his own!

Here's an article from The Guardian [online]:

"Music Industry Struggles to Make Digital Leap of Faith"
http://www.guardian.co.uk/media/2011/jan/31/music-industry-digital-midem

It is truly a brave new world out there, and I'm sure we'll soon meet the genius who will define our accepted consumer interface for music. Is it iTunes? Is it ReverbNation? Is it Facebook?

I'm full of questions, just out of the gate. I guess though, if that Guardian article is proved correct, the issue to focus on is a shift from "content" to "experience." How will we "experience" music in the days to come? How do you experience music now? Why don't you like it the way it is and how will you be convinced there is something better for you? I personally like vinyl the best, the intimacy of DJ'ing a 45rpm session. For portablity, I enjoy the odd MP3, but lament the poor audio compression techniques of today in the face of massive digital storage potential.

This program [Cubase 5.5] I'm using, allows me to create a digital stereo FULL SURROUND experience that could probably only be fully enjoyed on a decent surround sound system or a home theatre. Why isn't that the Future? Pop in my Blu-Ray album and kick back to the most realistic sound imaginable, while your 1080p HDTV magically transforms into a cozy fireplace or a window to some tropical beach....?

Well, the answer to that probably rests in remotest of African villiages; on a Chinese cellphone; or an Indian radio station; or on the latest gadgit in some ice-road trucker's cab up North. It only seems to catch on if everyone is able to reach it. I don't even have a 'full-surround' sound system (in fact, I'm not even totally sure that's really how you refer to one). Truth is, I'm one of the many - one of the 'just-getting-by' out there. I can't afford Law School, so what's in it for me in this new world of digital licencing and brand-building? What is the common denominator? Is it as simple as 'supply and demand'?

Another key question I hope to cover soon is "can I do it all myself?" The word 'experience' is a close etymological cousin to "experiment," so I'd be wise to start getting my feet wet and test out some of the free online resources that claim to be tailored for me... I'll let you know how goes.

Good luck out there,
~The Shoestring Troubadour.

Welcome...

Welcome to my WEB-LOG!
(I still think 'Blog' sounds like something you do after drinking too much)

Here, I will attempt to keep you posted on many of my music business-based epiphanies.

The music industry is a big and complicated machine to me, full of bits and pieces I don't fully understand, yet. I'm a musician and composer from Ottawa, Canada, and I love all kinds of music. I love learning about music too, so I've enrolled in the Algonquin College certificate program "Digital Music Production," with hope that it might shed light on the murk and mystery of the industry, marketing, and let's face it - money making. Who wouldn't want to get paid to do what they love? I ask.

I'm on a budget, and am interested in the 'do-it-yourself' route to music-fuelled subsistence. I guess that's why I'm learning to use programs like Cubase 5 and taking courses that develop my 'production value' [pun intended]. Showbiz has always seemed to require financial resources I'm sure we've all only dreamed about. But maybe not anymore...

This is the 'digital' age, after all, and the potential for self-innovation and marketing online appears limitless. Have we finally arrived at the point where the balance between talent and money can finally be levelled?? I sure hope so.

I am The Shoestring Troubadour. Let's see what's out there!