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    How To Take Your Home Studio Worldwide: The Definitive Guide to Online Music Collaboration
    How To Take Your Home Studio Worldwide: The Definitive Guide to Online Music Collaboration
    How To Take Your Home Studio Worldwide: The Definitive Guide to Online Music Collaboration
    Ebook174 pages1 hour

    How To Take Your Home Studio Worldwide: The Definitive Guide to Online Music Collaboration

    By Derrick A. Horne

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    About this ebook

    Not long ago, access to a professional recording studio was just a dream for many musicians. Amazing talents remained silent, lacking the funds to pay exorbitant recording fees. This is not the case today, as computer owners have easy access to affordable state-of-the-art recording software. By adding peripherals such as microphones and speakers, even the novice user with a smaller, well-designed setup can compete with a higher-priced facility. Thanks to this, musicians can record basic tracks at home and have other musicians anywhere in the world perform on their song. This is known as Internet recording and production, or IRP for short. How To Take Your Home Studio Worldwide details the process of global music collaboration. Topics include equipment selection, home studio preparation, and Internet recording business principles. Containing a wealth of preventative measures, recording wisdom, and anecdotes from a recording veteran with hundreds of Internet recording credits, How To Take Your Home Studio Worldwide is a must-have for those wanting to get involved in off-site music collaboration. Useful for commercial, television, film, CD and other music production, this book is a fun, easy to understand read that shows you how to master the art of Internet recording, production, and collaboration from start to finish.
    LanguageEnglish
    PublisherBookBaby
    Release dateJan 15, 2014
    ISBN9781619278110
    How To Take Your Home Studio Worldwide: The Definitive Guide to Online Music Collaboration

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      Book preview

      How To Take Your Home Studio Worldwide - Derrick A. Horne

      ACKNOWLEGEMENTS

      Special thanks to Sara Hetland for editing and revising this book with care and concern.

      To Laurie Dindis for such inspired illustrations.

      To Dr. Robert Frank for a timely and relevant foreword.

      HOW TO TAKE YOUR HOME STUDIO WORLDWIDE

      by Derrick A, Horne

      Published by Yokebreaker Productions

      A Derrick Horne Company

      1212 Sapphire Street

      Longview, Texas 75602

      www.dhornemusic.com

      yokebreaker@mac.com

      Interior design by Derrick A. Horne

      Cover design by Bookbaby Design Services

      ISBN: 978-1-61927-788-5 (paperback)

      eISBN: 9781619278110

      First Edition 2014

      Printed in the United Stated of America

      Catalog Number YBP-13001eBK

      Copyright © 2013 by Derrick A. Horne

      All rights reserved. This book or parts thereof may not be reproduced in any form, stored in a retrieval system or transmitted in any form by any means-electronic, mechanical, photocopy, recording or otherwise-without prior written permission of the publisher, except as provided by United States of America copyright law.

      DEDICATIONS

      I dedicate this book to every professional musician who dedicates his existence to serving and encouraging people through music. Thank you. You are greatly appreciated.

      I also dedicate this book to my professors at Southern Methodist University and Tarrant County College.

      Without the contributions of editor Sara Hetland and illustrator Laurie Dindis, this book would have come to life a lot later and with much more chaos attached. I honor them for their willing and humble hearts in assisting a first-time author.

      Specially thanks to my dad, who first put a guitar in my hands when I was in diapers and my mom for putting up with the years of noise. Music has since been the true love and passion of my life. It’s still carrying me new places. Thanks Mom & Dad.

      I can never cease to thank Uncle Bill and Aunt Dorothy, for always speaking positive and Uncle Marion for my first guitar.

      Lastly, I dedicate this book to those involved in the many Internet recordings I’ve worked on over the years.

      About the Author

      Derrick A. Horne is a producer/recording artist/session musician with more than 35 years of music industry experience since playing on his first record at age 12. To date he has appeared on hundreds of recording projects in the aforementioned capacities and as a composer, brass and string arranger, bassist, guitarist, keyboardist, engineer, or programmer. (see discography) Many of his works have been nominated for major awards, including GRAMMY Awards and others. He is an Ernie Ball, Orange Amps, and Ed Lynch Guitars artist. In addition to music industry involvement, he is a motivational speaker, consultant, entrepreneur and published author. Currently he attends Southern Methodist University in his home of Dallas, Texas, where he is a Music Composition major.

      DISCLAIMER

      This is not a technical discourse on recording guitars, drums, strings, or any other musical instruments, voices, or source material. The information here has been crafted specifically for musicians, engineers, producers, and other music personnel who desire to service clients globally with tracks recorded in their own local environments. In short, this is a practical guide on how to record music tracks in a home recording studio and upload them via the Internet so that clients anywhere in the world can access them. Worldwide music and recording collaboration is the focus of this writing. Here we cover the overall process of an Internet recording session beginning at the business of booking the session and culminating with delivery of the final tracks. Other topics, including home studio optimization, audio file formats, performance, and crisis management, are discussed as well.

      For the purpose of this book, home studios are better described as privately owned recording studios or recording setups that are operated solely by the performer, not commercial facilities that require outside personnel to operate. The author suggests that the reader possess adequate performance skills along with recording and engineering experience before attempting to implement the concepts herein. This writing is a labor of love designed to benefit music people who fit the above description. These guidelines have been tested in hundreds of Internet sessions by the author and will streamline the experience of recording Internet tracks when followed.

      That being said, this book is not to be considered as professional, reliable advice for legal or other matters. The author and publisher make no representation or warranties of any kind regarding the information contained herein, their results or benefits. Every recording situation is different and this book only serves to represent the author’s own opinion and experiences. Use of this material is at the reader’s own informed discretion and knowledge of the aforementioned. It is advised by the author and publisher and listed here as public record that professional advice be sought before attempting any of the concepts herein, particularly with regard to the financial concepts mentioned.

      CONTENTS

      FOREWORD

      INTRODUCTION

      1. BEFORE YOU START

      2. THE SESSION COMETH

      3. JUST HIT RECORD!

      4. WHEN THE MUSIC STOPS

      5. MY IRP WORKFLOW

      6. DON’T GET MAD

      7. IN CASE OF EMERGENCY

      CONCLUSION

      BIOGRAPHY

      DISCOGRAPHY

      GLOSSARY

      FOREWORD

      Change used to be measured in generations. Each generation would master their craft, spend a lifetime applying it, and then pass along the best of their experiences to the next generation, who would then add their own improvements. The advent of digital technology has totally changed that. Now, every five years, technology gets twice as fast, twice as powerful, and half the price. For musicians, this would seem to form an impossible paradox, where skills that take a lifetime to learn are out of date in a fraction of that time. But, this is not really the case. The musical talent and skills still remain the same: it is the means of getting that talent to the audience that is changing. For those who doggedly stick to the old way of doing things the flow of technology will pass you by. It is only in the ability to roll with the tide that your music and art makes it out to each new generation of listeners, and the ever-growing global audience.

      Ever since I bought my first Casio CT-470 in 1984 with those wonderful new MIDI ports, I’ve been fascinated with how technology can expand our musicianship. In teaching my music technology courses, I have never had the luxury of using the stereotypical old yellowed pages of notes you see in the hands of professors in movies as they read in a monotone voice, since the technology we study is a moving target. Instead of teaching how to use XYZ new gear or software, I teach students how to understand and learn new approaches and technology, and more importantly, how to use this new knowledge to their advantage.

      There is a real and rapid change in the way technology is reshaping the production path in the music business. No longer do people need to be in the same room to make music. As the Internet speed and bandwidth increases, more and more people will be asked and expected to make music where they are, collaborate with musicians and technicians in remote locations, and to have a basic mastery of simple recording and transfer techniques. This shouldn’t scare you any more than Trog the caveman hearing that now people can make fire anywhere by rubbing two sticks together rather than waiting for lightning to strike and going there to get their fire. It’s a good thing!

      So, all you have to do is get out there and buy a computer, mic, a little software, set it up in your living room, and violá! You can do it, right? Wrong. As musicians, you know that buying that perfect ax doesn’t make great music happen. You need to learn from a master who has the skills and experience to teach you how to make it happen: then it’s up to you to put in the work to do it. And that is what you are holding in your hands: the how to make it happen from an experienced master.

      Derrick Horne is one of those few gifted people who have a real gift, the work ethic to turn that gift into talent, the heart to want to share it, and more importantly, the wisdom to see the world from a long-term prospective that separates those we call a visionary from those who follow. His 30+ years of successful, professional performing and production experience gives him the wisdom to hold on to the important things that work, and his humility gives him the ability to let go of the things that are changing and really aren’t important. He gets it in a sense that all teachers dream of in their students: learning is a life-long skill since life is a moving target. When you can read that previous statement and realize that it is a good thing, happiness and success will follow as you master each new change life throws at you and grow into something even greater than before.

      Robert Frank, D.M.A.

      Coordinator of Composition Studies,

      Associate Professor of Music Composition

      Meadows School of the Arts

      Southern Methodist University

      INTRODUCTION

      Musicians, it is past time we face a grim yet promising reality. The bubble has burst, and it’s for our good. Most of us needed it to burst. Which bubble you ask? I’m not talking about the housing or lending bubbles; I mean the session musician bubble. Sadly, the recording industry some of us knew and treasured for many years is long gone, surely never to return. Regardless of our feelings toward sub-par musicianship and badly performed recordings, the current trends are here to stay. The novices (by our standards anyway) who barely know four basic chords are not taking over—they have taken over. The industry appears to be theirs to rule.

      No longer are the cushy triple scale recording dates so common. No longer are hotshot session players and high-dollar studios driving where and when records are cut. Why is this happening? There are several factors. Firstly, modern technology makes audio recording easy and inexpensive for the masses. Don’t get me wrong, I love the new ways but they seem to empower the overly under-qualified and inadequate at times. Here’s what I mean. Artists and producers can now expect their out-of-work musician buddy living in Spain with Aunt Sue to cheaply record some out-of-time, badly engineered and horribly performed tracks in his home studio. He can then deliver his tracks back to his buddy via file-sharing services like Dropbox or the now-defunct Apple Mobile Me. Thanks to the digital audio workstation (DAW) technology of today, he doesn’t have to even play that well. Heck, the mix engineer will just move some notes around or maybe pitch shift the performance to create a usable, if uninspired, track. You may be chuckling at this, but if you haven’t done it yet, you just may have to someday. The really savvy engineer will manipulate bad tones through reamping or other methods and eventually make Spain Guitar Guy actually sound pretty decent.

      I remember seeing a demo back in the ‘80’s of the first supposedly affordable computer MIDI

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