Starting out to record in Singapore?

It is no surprise that trying to pursue a career that is related to music is extremely tough and sometimes very disappointing. For the past few months since YWFUProject has started, I have been receiving many numerous enquiries about the “tips and tricks” to sustain this profession. To be honest, I do not have anything that is significant enough to ensure your success in this field (if not, I would have been really successful isn’t it?) but after much thoughts, here are some advice that I am able to think of to help you smoothen out your journey in music production / studio recording.

Your gear should serve multiple purposes

Music production can be a really costly profession to indulge yourself in, basically, everything cost money, from the microphones, DAW (computer), monitor speakers and even the microphone stands and cables, all these items can easily add up to thousands of dollars in a short period of time. Hence, a viable approach (the one that I adopted) would be to plan ahead before you purchase any equipment. Generally, the idea is to ensure that every single piece of equipment are as versatile as it should be and have a wide variety of scalability options. An example would be my two-part series on choosing your first microphone, the same ideology can also be applied in any situation.

A Home Studio Setup

Re-invest to pay for your gear

The best way to sustain the craft is to ensure that you don’t put yourself into a pile debts. I understand that it is every musician’s / engineer’s dream to have a wide array of equipment at your own disposal. Having relevant equipment to kick start your recording career does not necessarily equate to incurring debts. The most effective method I found was to re-invest your income back to your craft. To illustrate, many of you who are just starting out, you are probably holding on to a current occupation (e.g. student) that might not be related to this field at all. Saving up extra cash by being thrifty with your daily expenses can be rather practical but often not satisfying enough as it takes too long to save up a reasonable amount of money to buy anything.

Take up a part-time job (production based) or volunteer in a position that is related to this field (does not necessarily have to be an exact match to your dream job description). This can start the ball rolling by exposing yourself to new opportunities, meet industry friends and hone your skills. In addition, this part-time job can even be a source of extra income to help you achieve your equipment goals while giving yourself a sense of satisfaction to motivate you even further (e.g. a completion in a live show that you have worked hard for).

Freelance Jobs are one of the most effective ways for you to save up! Credits, Goh JJ

Do not limit yourself into studio space

An acoustical idea room does not always translate to a great recording. Warren Huart mentioned before “creativity will always triumph equipment”, this is especially true when it comes to music production. Music is a form emotional expression and your equipment is merely the transducing medium to sent the message across. “Music production is always about the song, the song and the song” (Quincy Jones), thus do not limit your recording space or opportunity just because you do not have a perfect room to work in. Many albums that we loved are often recorded in hotel rooms, bar, and even toilet, in fact, most of my recording projects are always in non-ideal spaces (e.g. lobby or corridor). Spend some time to experiment around and do not let your mentality bottleneck your recording experience.

Live Recording of "Sharp Tongue" in a typical lounge. 

Collaborate with others

Working or involving other like-minded friends in a project brings many merits. For example, the cost of hardware could essentially be lowered as the team can share their existing resources (e.g. DI box or Microphone) into a project together. Effective collaboration can often spread out the workload, hence ensure a higher quality content (as the content has been vetted by many) while ensuring consistent upload to maintain audience engagements.

Nothing good ever comes easy, however, while in the midst of pursuing this career or hobby of yours, I hope that the mentioned suggestions above may have incited you with new ideas to help keep music production sustainable. Enjoy the process and it will eventually turn out fruitful.

YWFU

Live Recording with Yamaha R series interfaces

Unlike many other audio interfaces used in music production, the Rio series I/O racks were designed to integrate with pro-audio equipment used in live and broadcast sound. A notable example is the incorporation of these interfaces into the Yamaha CL/QL system architectural. Unlike many audio interfaces that are purposefully designed for music production, the Yamaha R series interfaces do not have the onboard head amplifier (HA) control and these parameters are usually controlled through an audio console, such as the Yamaha CL5.

Yamaha CL and QL consoles, compatible with R series interfaces

On the other hand, parameters of the R series interfaces can also be controlled with R Remote, which is both compatible with Mac and Win platform. This has allowed the R series interfaces to be used in a recording situation without a console. In the post, we will take a look at how the R series interfaces can be setup for recording applications.

Yamaha R remote, credits Yamaha

Since the R series interfaces are all equipment with Dante (Digital Audio Network Through Ethernet) capabilities, interfacing these boxes with your DAW do not require any additional hardware other than an ethernet cable with Dante Virtual Soundcard (DVS) and Dante Controller (DC) installed on your computer to route your audio signals into your DAW. DVS is a software that it converts your computer existing ethernet port into a Dante device of its own, allowing up to 64 channels of audio (bidirectional) can be utilised with a latency setting of 4ms, 6ms or 10ms.

Dante Virtual Soundcard

After activating your computer ethernet port as a Dante device, Dante Controller will then be used to audio patching purposes. While it is possible for the user to route audio signals without affecting operation, Dante Controller offers users to save different show profiles (presets) and can be used to organise audio patch setting for different bands.

Dante Controller

Once the audio signals have been routed to its respective inputs, you would need to patch the Dante I/O into the DAW of your choice. Since I am a pro tools user, I would briefly show the steps on patching the Dante I/O into pro tools. However, the steps are quite similar among other DAW platforms so it can still be applicable for other platform users.

Pro Tools I/O patch setting

Below is a live sample recorded from the Yamaha Rio 1608 as an audio interface.

No distribution for profit. Credit when sharing.

There is one caveat in my own opinion, although network latency can be configured to be less than 1ms (0.25ms) among Yamaha Pro Audio devices, the R series I/O racks will not be truly a standalone interface without some form of direct monitoring control. As mentioned earlier, DVS latency can be either set at 4ms, 6ms or 10ms, monitoring audio sources from DAW might be unsuitable for the musicians, especially when their performance consist of sixteenth note measures. Although latency can be improved with a Dante Accelerator card (0.15ms) to allow proper monitoring from the DAW, this will also incur additional cost.

The Yamaha R series I/O racks can be easily scalable to any system requirements. With a large array of supported equipment (e.g. Focusrite AM2 or Radial Di-Net), the system design can be very flexible for any type of applications.

YWFU

Alaina Blair Lyrics

Here are the requested lyrics for Alaina Blair's Love It or Leave It, Simple Things and All Comes Back Around. I have also sectioned the songs for easier listening. Shoutout to Alaina Blair herself for providing the lyrics.  

Hope you enjoy, have a great time listening.
YWFU

Alaina Blair - Love It or Leave It

LOVE IT OR LEAVE IT(W.
Huart, L. McCollum, P. Allen)

I’ve been waiting around for too damn long, watching you chase your tail
It’s the same old story, getting boring and this love is getting stale
You say what you want, say what you need but you keep looking for more
It’s getting about that time where I say goodbye and kick your ass right out the door

Cause your lips are talking but your feet don’t do no walking
Well I just don’t think you understand
I’m sick of your maybe’s baby, you think I’m gonna keep waiting
Why can’t you just be a man

Woah oh oh, you can love it or leave, you better believe it
Had enough of your games and I don’t need this
You’re not the only man left in this town
Woah oh oh, you can love it or leave it, can’t in between it
Yeah I said it, hell yeah I mean it
You’re crazy if you think I’m sticking around

Woah, love it or leave it, the last you’ll see of me
Love it or leave it, baby I ain’t losing sleep

 Well she’s a pretty little thing that loves her mama, but you met her at the candy store
And I saw you checking out her legs as she walked through the door
And I watched and I watched and I let you go, as I played you like a toy
Cause I know you’re nothing but a good for nothing, lazy little mama’s boy

Cause your lips are talking but your feet don’t do no walking
Well I just don’t think you understand
I’m sick of your maybe’s baby, you think I’m gonna keep waiting
Why can’t you just be a man

CHORUS

Woah, love it or leave it, the last you’ll see of me
Love it or leave it, baby I ain’t losing sleep
Love it or leave it, the last you’ll see of me
Love it or leave it, baby I ain’t losing sleep

CHORUS X2

Woah, love it or leave it, the last you’ll see of me
Love it or leave it, baby I ain’t losing sleep

Alaina Blair's Simple Thing

SIMPLE THINGS
(A. Blair, D. Newell)

I miss the simple things
I loved you and you loved me
When those words didn’t have to be so hard

I remember what we talked about
Yeah we had our life all planned out
Travel the world, have a big ole house

Yeah, it just seemed right
And it still sounds nice

The perfect kind of restless
Not a care in the world, we were loving reckless
Lit a fire in our eyes, never been so high as then
I thought it would keep on shining,
But like a strike of lightning
No love like that gonna come back here again

Sometimes I just sit back
Try to picture where you’re at
And baby I’m just hoping that you’re thinking about me too
Cause I keep thinking about you and

CHORUS

When it’s good, just hold on
Cause when it’s gone, it’s long, long gone
If you feel it, just let yourself believe it

CHORUS X2

Oh no love like that gonna come back here again

Alaina Blair - All Comes Back Around

ALL COMES BACK AROUND
(W. Huart, L. McCollum, N. Henderson, M. Coogan)

There’s a space between, like holding the universe
Trying to find out what it means
Is love all we need, or is it mixed with a little fate and destiny

Don’t know where it starts, don’t know where it ends, yeah
But I know where I’ve been and I’m back to where I began
To find the reason, find the meaning, of where I’m going
Cause I want it and I need it, yeah

One reason, one life,
One chance to make it right
Cause it all comes back, it all comes back around
Oh, and I pleaded, I’ve tried,
I’ve cried a million times
But it all comes back, it all comes back around

There’s a space between, like holding the universe
Trying to find out what it means
Is love all we need, or is it mixed with a little bit of fate and destiny

CHORUS

I wanna do something more, I wanna fix my broken doors
I wanna look you in the face and tell you I was wrong
I wanna do something more, can you fix my broken doors
Show me what I need, show me what I need to know
Show me what I need to know

CHORUS

BRIDGE