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extend the stereo field, but only if REALLY necessary. I try to avoid it like the plague, cause it messes things up, especially reverb, but sometimes a little touch is nice or necessary
Yeah, this is one of those plug-in’s that you can tell right away if is helpful or not. Pay attention to the low end. Stereo imagers can decrease your perception of the bass. Some stereo enhancing plug-ins include a bass make up. Also watch the main output level, it may increase and put you near clipping. Still, on some material it is a nice enhancement.
Hi Patrick, nice composition.
Mastering starts with the mix. If a track has a great mix, only little tweaks should be needed in mastering. If major surgery is happening to your stereo mix when mastering, then it’s time to go back and re-evaluate the mix as a whole.
I’ve tried different tools to master. I have IZotope’s Ozone, but mostly I use individual plug-ins from different companies. I’ve found Ozone to “color” the sound. Which is good, if you want to add color like “analog”, “warm”, “tube” or etc. My line up of individual plug-ins is more transparent and this is what I prefer, as I add my color in the mix.
Let’s see if I can recall my chain from memory:
EQ, with a preset to specifically remove low end rumble that isn’t doing the song any good.
2nd EQ, full spectrum, set flat to start.
Compressor, with a mastering preset ready I’ve programmed.
Audio Enhancer with starting preset I’ve programmed
Stereo Imager with starting preset I’ve programmed.
Maximizer with dither.Depending on how others mix, their chain would look different.
There’s a lot to learn about each plug-in. You have to practice just like you would to learn to play a musical instrument. But it’s not rocket science. It’s all about using your ears. Pay attention to gain staging and constantly ask yourself “is what I’m doing improving the song?” Once you do enough of this you can tell right away if enabling a plug-in is going to end up helping the song or is not necessary at all.
These days I find myself using a lot less of EQ in processing my stereo tracks. So hopefully that means I’m doing a better job in the mixing stage. Good luck!
You have worked hard. You have the knowledge. You have the skills. You are…
…ready to bake.
You have the knowledge. You have the skills. You are…
…still poor as $hit.
FWIW – my original post here from 2012 in response to
“Anyone here have any experience in placing cover songs?”
was
“You can put covers on musicsupervisor.com. I have some but never a placement…”.
I’ve since removed those tracks, but musicsupervisor.com must have given the ok to upload them at one time, or I never would have. I see at About Music Supervisor (http://www.musicsupervisor.com/about/) it reads: “Also we have great covers”.
What I’m taking away from this is that perhaps we need a new type of license to authorize a cover to be speculatively placed on the commercial licencing marketplace. But right now, no such animal exists, leaving a gray area.
Very interesting, thanks for the discussion!
Prime-time History channel from last domestic statement:
:24 = $8.59
:17 = $6.08
:32 = $11.45
:16 = $3.94Hi Michael,
All of those are good reasons for getting permission ahead of time! But, I’m not seeing a reason that states permission is legally needed ahead of time. Legally, permission is granted or not granted by the issuance of a sync license by the copyright holder, correct? It is the sync license that allows the copyright holder to control how their work gets used, isn’t it?
The obligations involved for the artist are obtaining a mechanical license and issuing a master use license. The obligation for the receiver of the master use license is to request a sync license from the copyright holder. The obligation for the copyright holder is to deny or accept the sync license request. Are these the permissions needed, and none others? Or am I not getting the proper chain through this thick skull of mine? 🙂
I understand all that, thanks. I guess what threw me was Mark’s clarification of:
“when you are doing a cover for potential licensing, you actually still have to get permission from the copyright owner”
If I’m hired by a company to create a cover for a specific licensing opportunity, then obviously permission is needed from the copyright owner in the form of a sync license which someone is going to pay for. If I’m creating a cover for potential licensing, this reads to me like there is no specific opportunity in place, but potentially this recording could be offered a master license sometime in the future, and at which time the sync license would also be pursued.
Why does one need permission (aside from a compulsory mechanical license if selling to the public) to do a cover for potential opportunities, when each specific opportunity is covered by a negotiating a sync license?
Thanks Michael! I do understand a sync license is not covered by mechanical royalties. In my post, I wrote “Remember, there are two separate licenses required, master and sync.” Mark clarified by writing “but there’s an extra layer to all this when a commercial license is involved”. I don’t understand what the extra layer is, how much it costs, and why isn’t it covered by a sync license.
Thanks for clarifying Mark. I would have thought that permission/approval to use a cover version commercially was granted solely by the copyright holder either issuing or not issuing a sync license.
So let’s see if I understand this correctly:
An artist pays for and is granted a mechanical license through Harry Fox for digital distribution of a cover tune. A year later a company asks for a master license to use the cover in a TV commercial. The artist and owner of the master recording agrees. The company then goes to the copyright holder asking for a sync license. The request is either agreed or denied.
But, if the artist is not seeking digital distribution via a mechanical license, because he or she wishes to create the cover strictly for commercial licensing, then permission must be granted from the copyright owner. But permission for what? A mechanical license is compulsory (as long as the song has been previously recorded) and the rate is statutory. So they’re not asking for a mechanical license. What exactly are they asking for and what does it cost? And, once this permission is given, does the copyright holder still have the right to deny any given sync license?
I guess I don’t understand it correctly. 🙂
Remember, there are two separate licenses required, master and sync. Master license money goes to the owner of of the master recording. Sync license money goes to the composer/song writer. It’s up to whomever is licensing a master recording of a cover tune to also obtain the proper sync license from owner of the copyright.
The creator of the cover version has most likely paid the statutory rate mechanical royalty to the copyright holder.
Yes, I have a cue sheet filed for Vice…
I’ve often wondered, should I be receiving cue sheets , or at least a report of my tracks used from music libraries?
Not really. Some companies will send a statement twice a year or so, even fewer companies let you know ahead of time about a placement. If you’re ASCAP you can view cue sheets online.
The chart was interesting, and I think pretty accurate. And you’re correct, I would say it takes three or four music job revenue streams to earn enough. The bulk of my income does come from composing, but income from libraries is just a small part of composing earnings.
Ok, so the case study has a musician
“who writes, records and performs his own music and regularly tours the US and abroad. He spent a significant amount of time as a salaried member of two different independent rock bands that actively toured the US and abroad, and typically played festivals and large rock clubs. When he tours his solo work, he performs in night clubs, galleries, pubs, art centers, museums, small theaters, and bars…He has appeared on fourteen records as a leader, 32 records as a band member and 27 records as a sideman. He manages his own tours and those of the various ensembles that he co-leads. He sometimes works with a booking agent for his solo tours in Europe.”
They sum up the case study with “After expenses and taxes, it’s estimated this musician will bring in around $12k in Net income. Not a huge number, but still not bad if you consider it supplemental income.”
Supplemental to what?? This guy is touring all the time in the states and abroad with two bands and performaing all over the place as a solo act. He’s doing sessions, managing all his tours and works with the agent. Is he really supposed to be doing all that around some kind of full time job?
The article missed the boat in their summary. There is a different story here.