Nashville

Making a Demo in Nashville – Broke On Payday

October 12, 2014

 

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Broke On Payday

Written by Andrew McGee and Jack Frisby, © September 6, 2013, Produced by Phil Wolfe

Mailman brought me three bills today; my woman and the rent are late. I know I should probably shave, get another job, learn to pray. Well, come this time tomorrow my way all the money I spent yesterday.

Broke on payday; spent it on a lady. Forty hours a week until they’ll pay me. Tip my hat to the man in charge; pick up the slack just to keep my job. Working hard–hey hey–to be broke on payday

Landlord brought me a notice again; shade tree mechanic said it’s the transmission. People say I should learn how to save; the truth of it is there just ain’t no way. Come this time tomorrow fast, gonna feel good for a change to have a little cash.

Broke on payday; spent it on a lady.  Forty hours a week until they’ll pay me.  Tip my hat to the man in charge; pick up the slack just to keep my job. Working hard–hey hey–to be broke on payday

Punch the clock, play the game, pass the time, waiting for the payday. Tip my hat to the man in charge, pick up the slack just to keep my job. Working hard–hey hey–to be broke on payday.

Written by Andrew McGee and Jack Frisby, © September 6, 2013, produced by Phil Wolfe

Original work tape

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Down into a Coal Mine – (take a look up)

October 19, 2013

Down into a Coal Mine – by Stuart Cary

While living in a wonderful village here in Nashville, I made great friends with many neighbors.  Stu was one of those neighbors.

Slugging it out, the livelong day.
Line up Friday, the man gives me my pay.
The weekend’s gone, it’s Monday morning at the crack of dawn.

When you go down in a coal mine; when you go down into the ground, take a look up for the sunshine if you can. ‘Cause there’s a little light shining there in the darkness everywhere, so take a look up for that sunshine if you can.

All these dreams may come to none.
Think about what I have and what I have not got.
Times get tough, I find out that I’ve had about enough.

When you go down into a coal mine; when you go down into the ground, take a look up for that sunshine if you can. ‘Cause there’s a little light shining there in the darkness everywhere, take a look up for that sunshine if you can.

If you can, sift the gold from all that useless sand, pull it out with just your own two hands, ride off into to sunset-promised land.

Pull up the stakes pull out the stops.
Haven’t seen the bottom, I haven’t seen the top.
Times get tough, I find out that I’ve got about enough.

When you go down into a coal mine; when you go down into the ground, take a look up for that sunshine if you can. ‘Cause there’s a little light shining there in the darkness everywhere, take a look up for that sunshine if you can.

Take a look up for that sunshine if you can.

—-
Words and Music written by Stuart Cary

 

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Broke On Payday – (spent it on a lady)

September 7, 2013

 

Broke on Payday – co-written with Jack Frisby

My good songwriting buddy Jack Frisby and I wrote this together one day in the village here in Nashville.  Oh my do we all know what this is like?  Sometimes on payday I like to refrain from paying bills just for a few hours so I can feel like I have all that money to spend!  We would love to hear someone cut this song and do something special with it.  We think others can relate to getting money on payday that’s already spent! 

Mailman brought me three bills today; my woman and the rent are late. I know I should probably shave, get another job, learn to pray. Come this time tomorrow my way, all the money I spent yesterday.

Broke on payday, spent it on a lady, forty hours a week until they’ll pay me. Tip my hat to the man in charge, pick up the slack just to keep my job. Working hard, hey hey, to be broke on payday.

Landlord brought me a notice again, shade tree mechanic said it’s the transmission. People say I should learn how to save, the truth of it is there just ain’t no way. Come this time tomorrow fast, gonna feel good for a change to have a little cash.

Broke on payday, spent it on a lady, forty hours a week until they’ll pay me. Tip my hat to the man in charge, pick up the slack just to keep my job. Working hard, hey hey, to be broke on payday.

Punch the clock, play the game, pass the time, waiting for payday. Tip my hat to the man in charge, pick up the slack just to keep my job.Working hard, hey hey, to be broke on payday.

 

 

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Recording Costs in Nashville

July 29, 2013

What are the average recording costs per song in Nashville? About $750.

For full band recordings you can get a decent demo for $250-500, a nice recording for $750, and a master recording starting at $1,000.  But it can get even more expensive.  It depends on how you record. There are some great producers with home studios, who if you catch at the right time, might be willing to give you a sweet deal.  It’s a creative service, so the prices are always subject to change.  The factors that make up the costs are musicians, the recording space, and the biggest variable: time.

There are some services that crank out basic demos for under $200, such as Paramount Song.  However, Paramount Song’s motive is to facilitate song contests and pitches, and in their process, they can run your song through the mill and make a demo for really cheap.  You get what you pay for, but these demos are done by local professionals and will not sound bad.  If you want a better demo, pay more money or make a friend who owns a studio.

Some people don’t pay anything to have their songs recorded because they have a strong network of friends with resources.  I have some friends who took two years recording their own album without paying a single dollar, because they were bouncing it around to each others’ home studios and recording facilities.

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Meeting With Hit Songwriter, Rivers Rutherford:

June 25, 2013

Advice On Becoming A Nashville Songwriter

I’ll never forget some of the best advice I ever got was from Rivers Rutherford.  I had literally just arrived in Nashville that day, and through a vague connection I was able to meet this hit songwriter at his home and later in his office, and boy did I blow it!   🙂

It’s okay, I have a feeling that most people like me blow those good chances at first.  At the time, I simply wasn’t ready to work with someone of the caliber of Rivers Rutherford, despite how ready I thought I was.

But oh how I’ve listened and learned since then, and if you are reading this Mr. Rutherford, I would love to take that second meeting and play Rescue or Broke on Payday.

The simple advice Rivers Rutherford gave me was so valuable that I want to share this knowledge with other new songwriters in Nashville who are wondering where to go.  It’s simple:

Go out and play, make friends, and come up together.

Everything else will fall into place if it’s meant to be.

Have you ever heard stories about how movie stars and comedians all knew each other years and years ago, because they were all hitting the circuit trying to reach their own success?  It’s very much the same way in the music business, and probably many other industries as well.

In my fourth year I can already use all the fingers on one hand when counting the friends I’ve made in Nashville who are slowly but surely moving on to the next level.  If some of us make it to that next level of success, it’s likely that we will remember some of our colleagues from the days when we were in the trenches.  It’s one big network of like-minded people playing to a multitude of audiences, and the cream always rises to the top.

Whatever role you play, the industry consists of all sorts of people working together with different talents: artists, musicians, songwriters, producers, engineers, business executives.  There are different ways to make it in Nashville; I have the artist’s passion but I have been learning how to have the songwriter’s mind.  After all, my end-goal is to make a living being a songwriter.  I’ll always be an artist…

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How To Make It In Nashville:

June 9, 2013

Success In Music City’s Music Industry

There is no one entity in Nashville that accepts applications for a job in the music industry – no matter how good you are at what you do.  And you can’t just sell a song.  Therefore, one excels in the music industry based very much on the friends they make, the hours they sweat, and the chances they take.  Be patient, curb any excessive zeal, and try to listen for what you should be doing rather than talking about what you are doing – everyone is also doing something else just like you and maybe they’re doing it better.  Here’s a great list of things NOT to do when you move to Nashville.

Success always comes when preparation meets opportunity, luck is the inexplicable variable, and talent is practicing something you love until you become an expert.  You’ll probably have to work a regular job for a while but I’ve noticed that most of the successful people in Nashville devoted their life to becoming a master at one or more of the following skills:

  • Creating – writing and co-writing popular songs that sell.  I love what Mitch Ballard says about this.
  • Performing – being highly proficient on one or more instruments, on stage or in the studio.  I love Tim Aker’s advice on this.
  • Engineering – providing world-class sound production
  • Business – fostering exclusive connections, management, and community involvement

Additionally, you do need to be in Nashville on a regular basis.  Opens Mics are a great place to start networking as you’ll continuously develop your skills, make friends, and learn about the community.

Join whichever guild it is that serves your segment of the music industry, for me that’s NSAI and BMI, but there are groups strictly for musicians, engineers, producers, and other professionals.  Pay attention to your industry.

The music and art scenes are very active in Nashville and the city is steadily growing stronger each year.  While its foundation is inherently Country Music – as portrayed in ABC’s TV series Nashville – the city proudly welcomes all other genres and offers its unconditional support to all styles with countless annual events like Musicians Corner and Live on the Green.

If you are thinking of moving to Nashville to make it in music – good luck – the city will wish you the very same.

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Nashville Top 3 Open Mic Nights

June 6, 2013

Nashville top 3 open mic nights flourish as new songwriters still flock to Music City

As a performing songwriter I’ve seen my fair share of writers nights and open mics.  This is my opinion of the Nashville top 3 open mic nights.  I’m writing this review from the upcoming songwriter’s perspective, and I’m basing this assessment on a few factors such as consistency, audience quality, and how well it’s run.  There are several other high quality writers nights and open mics in Nashville on any given night of the week, but these three have stood the test of time; they were each here when I moved to Nashville and are still go-to venues for local songwriters who are itching to play some originals to an audience.

Writers Nights vs. Open Mics

Some people use the terms interchangeably but they are two different things.  Writers Nights are scheduled blocks of songwriters playing their original songs, whereas Open Mics are first-come/first-serve signups.  Some venues do both in the same night, having scheduled rounds followed by an open mic.

1.)  Douglas Corner Cafejoe

If it’s Tuesday, getchur phones out!   This is a huge favorite for local songwriters.   The house is always packed and the networking opportunities are rich.  If you frequently attend Douglas Corner’s open mic night, you will undoubtedly increase your chances to make friends and learn about other cool open mics around town.  The stage sounds very, very good and is manned by 60-year Nashville native, Donnie Winters.  This open mic is absolutely phenomenal and without fail it happens unless there is a holiday.  This is why it is my first in the list of Nashville Top 3 open mic nights.

When & Where: Tuesdays on 8th Avenue South, right across from Zanie’s Comedy club.

Signing Up Call (615) 292-2530 on Tuesday at 1:00pm CST and leave your name on the answering machine.  This puts you on the signup list, then just show up at 8:00pm ready to play.   NOTE:  Seriously, call at 1:00pm, the lines will be busy and if you call at even 1:20pm, you’ll be near the end of the list, playing after midnight.  If you want to play early you may have to start calling at 12:59pm and call 100 times before you finally get through at something like 1:05pm.  You’ll be on stage with three other songwriters and you’ll each play two songs.  Being in an early round usually means you will play to a larger audience.

2.) The Commodore Grillcomm

This is a unique writers night and open mic venue, and the stage always sounds great.  The open mic portion of this night starts at 10:00pm, and from about 6:00pm-10:00pm there are scheduled acts which are booked by the host.  These acts are seasoned and you will thoroughly enjoy yourself as you take advantage of the full-service food menu and bar.  It’s located in a hotel right by Vanderbilt, so it’s a premium place to have your songs heard by people visiting from out of town.  The house is always packed with good energy and an attentive audience.

When & Where:  It’s on West End, here.  It happens every night of the week except Tuesdays.  Debi Champion hosts on Sundays, Mondays, Wednesdays, and Thursdays.   On Fridays and Saturdays, Rick and Tammy Stewart host the night.

Signing Up:  Be there by 7:00pm to sign up.  The signup period ends at 8:00pm and they only take about eight people.  Four play at 10:00pm and the other four play at 10:30pm.  Each person plays one to two songs depending on time.

If you want to play in the earlier slots that start at 6:00pm, just ask the host about it, but those songwriters are scheduled in advance.

3.) The Bluebird Cafebb

Ahh… the famed Bluebird Cafe.  It’s a real experience to play here.  No other venue in all of Nashville can consistently provide a guaranteed, shoulder-to-shoulder packed house of 100 people intently listening to your song.  The room is always dead quiet as each performer plays.  It’s a premium performance for any songwriter to give.

When & Where:  Mondays on 21st Ave South – aka Hillsboro Pike

Signing Up They open the doors around 5:30pm, however, the line forms as early as 3:00pm.  It’s nice to be first in line but that doesn’t necessarily guarantee you an early time slot.  Once inside, everyone writes their name on a ticket and they draw the names out of a basket for the line-up.  Each person plays one song unless there is some fluke or the rare super slow night.  Usually about 60 people sign up so there’s simply not enough time for everyone to play before the 9:00pm scheduled show starts.  The last 30 or so names that are drawn get a special Bluebird stamp on their ticket which they can bring back anytime to put in the “second-try basket” from which names are always drawn first when building the line-up list.  Might sound confusing, but it works and it’s fair.  With a second-try ticket, you are pretty much guaranteed to play since your name will be one of the first ones drawn.  So if it’s your first time to The Bluebird – you might not get to play that night, but be sure to grab your stamped ticket and come play on your second try.  And yes, once you use your second-try ticket you have to start over.  It’s entirely possible that you could play without a second-try ticket – you’d be later in the show, after all the second-try tickets have been drawn.  The Bluebird Cafe’s Monday Open Mic is hosted by longtime Nashville veteran, Barbara Cloyd.

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Rescue – (things you sometimes love sometimes you lose)

May 20, 2013

Rescue – a study on a set of tormented hearts

Oh my my how much angst I had when I wrote this song.  I don’t think I need to explain much about this song, the lyrics speak for themselves.

Let’s take a few days this spring, find a way to do this thing. From the beginning I knew I needed you.

I stood in the rain, under the moon looking for stars, wishing you would fall in love with me like I did with you. Like a work of art this’ll never be through, I promise you, things you sometimes love, sometimes you lose.

Let’s buy a little time, do it right, hold each other for the ride. What’ll two hearts do when they come unglued? They say it hurts a little while.

I stood in the rain, under the moon looking for stars, wishing you would fall in love with me like I did with you. Like a work of art this’ll never be through, I promise you, things you sometimes love, sometimes you lose.

If you find yourself alone, baby girl, need a little help ’cause you’re lost in the world, I don’t have a choice if I hear your voice, you know what I’ll do – I’ll come to rescue you.

Let’s go another round. Deep down we don’t wanna lose what we’ve found but it’s a hard thing to do – to just be friends, knowing you are holding another hand.

I stood in the rain, under the moon looking for stars, wishing you would fall in love with me like I did with you. Like a work of art this’ll never be through, I promise you, things you sometimes love, sometimes you lose.

If you find yourself alone, baby girl, need a little help ’cause you’re lost in the world, I don’t have a choice if I hear your voice, you know what I’ll do – I’ll come to rescue you.

 

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The Squirrel

January 2, 2013

Where I live, in my hallway, Vanderbilt Hospital rents 6 of the 10 apartments to accommodate cancer patients who come from out of town for treatment.  Every few months they come and go, so the four renters are always meeting new families.  I was walking in from taking out the trash when Butch, a man with whom I’ve spoken a number of times over the last couple of months, asked me how I was doing.  I said that I was just settling back into the workweek.  He said, “Wish I had that problem; we’re going home.”  I didn’t understand at first and politely wished them safe travels, but this time they weren’t just visiting home for the weekend.  He said, “They can’t help me and are basically sending me home to die.”  I have no idea what to say to that.  Life can be so miserable sometimes then it’s all over.  Three days earlier he’d told me in the hallway that his “blast cells” were over 20%.  I didn’t fully understand the severity of that when he told me, but now as I recall that conversation I can see the somber resolution in his face; he knew he was going to die.  They offered me the rest of their groceries, which I humbly accepted and then strategically piled into my freezer alongside more groceries that were given to me by a previous patient, Jackie, who, only a couple of months ago went home with better news.  They both gave me Popsicles; apparently chemotherapy limits what one can comfortably eat.

Only a couple of weeks before heading home for the winter holiday season I had a conversation with Butch.  He was short and slightly stout, a southerner from Kingston Springs, Tennessee and not at all prone to balderdash, but he went on about how he loved to work on engines.  In his old pickup truck he had installed a 350.  Maybe it was a 360; I’m not sure.  Despite me telling him that I understood nothing about cars, he still lit up when telling me about his love for working on them.  I politely listened and tried to converse even though I felt awkward trying to talk about cars.

Our conversation drifted to the weather, as most do when they lose their volition, but then he told me how he had placed a feeder in the trees that lined the back parking lot.  For the previous few days he’d witnessed an old, female squirrel whose body was worn.  Her repeated attempts to jump from the ground into the dumpster to scrounge for food were all failing.  He knew she wouldn’t make it through the winter.  He said his favorite hunting was squirrel hunting, but he clearly had a love for animals and nature.  He gave that old squirrel hope; now I wish I could give him some.  I sincerely hope Butch makes it far beyond winter.

Living here has been a remarkably enriching experience.  The neighbors are friendly and the cancer patients have given me a whole new perspective on my life.  I remember one day I was standing outside in the common area.  Exiting the hallway was another neighbor whose name escapes me but she was coming directly to find me.  I had told her I worked in the online industry so that instantly pegged me as the nearest computer technician.  The provided Wi-Fi was not working and she asked if I could help them fix it.  After about thirty seconds and two clicks, the magical interwebs had been restored.  She thanked me, and I jokingly said, “That’ll be $185.”  We laughed, but I’ve never seen that couple again.  They must have gotten their leave one day when I wasn’t home.  I hope they went home with good news.

Butch didn’t go home with good news but his stoicism that lasted until the end has left a mark on me.  Whether you prefer carpe diem or yolo, the fact is our time is limited.  If we aren’t doing the things we enjoy with the ones we love, we are wasting precious time.  As he and his wife solemnly pack their belongings, I’m wondering if Butch will ask me to watch over the squirrel for the winter.

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How To Record Songs In Nashville

July 19, 2012

Six Steps to Recording In Nashville

The only definite answer to this question, is that it will probably cost some money.

1.) Pick a studio

Home studios

They’re a dime a dozen and they produce great results.  Few people have the money to afford the luxury of a commercial studio.  Many home studio engineers have devoted a lot of time and money into making their home space as close to a commercial space as possible.  They probably don’t have a million dollars worth of high end gear but that doesn’t always matter.  They are the sole producer and engineer, and usually they play many of the instruments for clients who don’t have their own bands.  In Nashville home producers/engineers can play a wide variety of instruments very efficiently.  Whether you hire musicians or have your own band a home studio will certainly be acceptable.

Commercial studios

They’re scattered all around Nashville.  They don’t always have flashing neon signs that say “Open for Business”.  Some of these bigger studios have extravagant websites, numerous big flat screens, and leather couches, but these things are just aesthetics.  What you really gain by going to a commercial studio is the recording space, gear and talent.  These recording studios usually have huge rooms that are acoustically designed and filled with a million dollars of the most advanced recording gear that exists.  Great producers work at these studios and the musicians are regular session players who are called upon frequently.  These places operate like businesses and the producers, engineers, and musicians are all employees.

2.)  Know the Costs

The running joke is when people with home studios get random phone calls asking how much it costs to record an album, they’re tempted to just blurt out, “$10,000”.  It probably won’t cost that much but it’s such a subjective question.  Do you want a full orchestra or just two acoustic guitars?  How long are your songs?  How complex are they?

The range for recording a demo of one song could be anywhere from just $25 all the way up to $1,000.  It really comes down to how good the people are, how efficiently they can perform in the studio when they’re on the clock, how much work you’re asking for, and how well prepared you are for studio time.

If you are recording at a producer’s home studio then his fees usually include the use of his studio and you can find a great home-producer for around $25 per hour.

If you go to a commercial studio and hire an additional engineer that will probably be another $25 per hour plus the facility costs.

If you want truly professional musicians to play on your songs, expect to pay them about $25-75 per track, depending on how many tracks you are recording that day and how complex the music is.

A mastering engineer will probably charge $25-100 per song.

Any of these people could work by the song, or by the hour.  There are no hard and fast prices because these are creative services.

Often studios will give a fixed cost for the whole band, then maybe charge extra per hour of editing or vocal tracking.  Even if someone gives you a fixed price for all of it, you will still be surprised by something you didn’t expect before it’s all over with.  The costs are always subjective.

3.) Know the moving parts

People do one or more of these things:

  • Producer

    This person will work with you to understand your overall goal for your recordings.  They understand how to effectively communicate with everyone else involved.  They know the lingo, they know how to achieve the best results in various environments, and they will have the sole responsibility of ensuring that your project is a success.  They will listen to you and hear the big picture, and while the musicians are recording the rhythm beds today, the producer will be thinking about the guitar overdubs that will be recorded tomorrow.  They will be thinking of how to make your song the very best it can possibly be.  Long after the musicians leave, the producer will be investing more time into overdubbing, editing and mixing all the tracks.

  • Session Leader

    This is the person who is responsible for making sure all the musicians are scheduled to record your music.  This person usually writes out all the song charts which will be followed by all the musicians.  The session leader will be someone who is very familiar with how a recording session happens, and most likely he is the person who will select all the musicians to play on your music.

  • Engineers

    Just like there are different types of doctors called “specialists”, there are different types of engineers.

    • Tracking Engineer

    This person runs all the equipment; he mans the board and makes sure all the levels are set, that the mics are placed properly, and that the musicians and producer have exactly what they need to accomplish the goals.  The tracking engineer is a quick problem solver when the equipment isn’t operating properly, and having a good engineer can prevent a project from derailing if something goes wrong with the equipment.

    • Editing Engineer

    Sometimes people are just really good at doing a certain thing extremely well.  While a tracking engineer is really good at tracking a session, some engineers are really good at editing.  Even though producers typically take on the role of editing a project, it’s not unheard of to have a specialized engineer make the edits and mix very quickly as the producer directs him.

    • Mixing Engineer

    Mixing engineer adjusts the levels of each instrument, adds effects, adjusts the EQ, sets the panning, and basically puts all the final puzzle pieces together.

    • Mastering Engineer

    This person takes the final tracks and adjusts the frequencies and EQs so that your music sounds incredible to the ear.  This person is rarely involved during the full process.  Once the editing and mixing are finished, it’s the mastering engineer’s job to smooth everything out so that it can compete with everything else out there.

  • Musicians

    These are professional instrumentalists.  These people make their living from being highly efficient at playing their instruments.  They understand how to play in a studio environment, which is much different than playing in a live situation.  They will all understand how to read Nashville charts, and they can quickly play a part according to how the producer wants them to perform it.  If you are a band looking to record, then you are the musicians.

  • A Recording Space

    This can be a home studio, or a full-blown business with a million dollars of high end equipment.  Typically, studios have many different types of gear that make it possible to capture sounds onto a digital or analog medium.  These spaces are usually specifically designed with acoustics in mind, and often there are several different booths in which musicians are placed to prevent sounds from bleeding into other microphones.  A good recording space most definitely affects the quality of your recording.

  • Songwriter

    This person is the reason why everyone shows up.  “It all starts with a song.” as they say.  A songwriter has spent many painful hours writing a song which they wish to share with the world with hopes to move people emotionally.  Without a songwriter, there is really no reason for everyone else to get together to record.  In situations where a label or publishing company is backing the project, there is usually a separate vocalist singing the song, rather than the actual songwriter.  But again, there are no hard and fast rules because every situation is unique.

 

4.) Have a plan

I think it’s best to start by finding the producer you want to hire because a producer can help you plan your entire recording project.  Maybe you already have the musicians for your project chosen and just want to rent a facility.

  • Go to a home studio and let them handle it
  • Go to a home studio and bring your own musicians
  • Go to a commercial studio and let them handle it
  • Go to a commercial studio and bring your own musicians, producers or engineers.

5.) Know the process

Each producer has their own process; their own bag of tricks and secrets. Be sure you understand the full process before it starts, all the way to Mastering.  Ask about mastering for sure, Google it, it’s voodoo but it’s something for which you should plan.

6.) Act like a customer

Major artists have tens of thousands of dollars to record their albums and can afford ample time and production to make things sound perfect.  Besides using extremely high-end hear, time and expertise play contribute to your project’s quality.  Just like in college when you wrote a rough draft of your term paper, your final draft had more time and editing invested, which is what got you that “A” instead of a “B”.

We all wish we could record our songs with the budget of the major artists, but don’t discount the value of a home studio, because at the end of the day, if you can simply pop in your recordings and enjoy them without cringing at the quality, then you have accomplished your goal.  Any good producer/engineer has the ability to create a product that will move people, regardless of your budget.  At some point you have to understand that even with less expensive equipment, you are paying for their time and expertise, which is how they achieve good results regardless of the equipment.

Most importantly, it comes down to the song being good or bad.  I’ve heard beautifully recorded songs that just plain suck, and I’ve heard rough recordings of masterfully written songs.  Take Ani DiFranco for instance, she puts out very raw recordings, yet people love the songs.  Then you have Toby Keith who puts out super-produced songs that have all the marketing power behind them to make them soar into huge sales; even though Red Solo Cup makes me want to puke, I am in no position to critique the song because it’s made his camp a ton of money.

The music business is just that — a business.  Think of it like Starbucks and the coffee industry: I am completely satisfied with a cup of Folgers Black Silk in the morning, but Starbucks has commercialized the industry and made it cool to spend $5 on a cup of coffee.  Both music and coffee are subjective to one’s taste, no matter how much it costs to make.

And we all want a good cup of coffee.

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  • About Andrew McGee

    I am from a small town in northwest Florida where I spent my formative years studying music and eventually attending college for Integrated Marketing and Communication Studies. In 2008 after moving to Nashville to be closer to the music industry, I realized I liked working in web communications. Always having a knack for storytelling, I began seeking opportunities to help small business owners with their online goals, and developed skills to communicate comfortably with clients while executing technically advanced tasks. I earnestly connect with people and enjoy taking the time to patiently explain complex, technical solutions to people who are justifiably more focused on running their whole business and less focused on the tedious details of digital.