jacob detering is making records

Icon... The endless quest to make a record that I enjoy listening to ...

(Re)Defining Music as Business.

For the first time ever, I was accused by a friend, artist and client of thinking too much about the 'business' side of the music business. While I admittedly took slight offense, I find in retrospect that I'm really quite proud of his observation. Endemic to the music business is the idea that creators should focus on what they do - making art - leaving someone (anyone) else to deal with the business side of things. Trust me - I get it. I'd much rather spend my time writing great songs, making amazing recordings than participating in countless conference calls, returning emails and action planning around next steps for my business.


I've run a few million dollar businesses. I say this only because when comparing my experience in different industries, I notice a sizable chasm between the way in which musicians and other more traditional business people deal with moving a brand forward. Most significantly missing in artists is an over arching sense of urgency with regards to brand survival. This is to say I'm always shocked at what musicians are not willing to do to survive making a living doing what they love. It's a culture full of people doing what they do - instead of doing what needs to be done. I don't want to get too in depth about the minutia of a day in the life of a musician. This blog isn't about playing gigs, collecting emails or social networking but rather about a much larger, all encompassing cultural shift that really needs to take place should musicians really want to make art their business.

First and most overlooked is thinking of yourself (or your band) as an upstart business. Read anything and everything you can get your hands on around starting a business and building a brand. While a great deal of time should be spent shedding, practicing and arriving at your vibe; your sound - an equivalent amount of time should be spent locating your market, finding out what the market commands and ultimately delivering product to the marketplace.

Just do it. Being a perfectionist, this has been a hard one for me to learn. I do lots of stuff - but almost always cling to ideas, products and blogs too long before pushing them out into the world. Don't wait for approval from anyone (even yourself); at every turn, someone will be there to knock you down. You'll probably never get the approval you're looking for so you might as well not even try.

As anyone who's worked with me on a record will tell you, the iterative process applies to both art and business. Build, release, iterate. The iterative process applies to every single aspect of your business in a significant way. For example, I like to think of every process as a build and release phenomena. The way you book shows, the way you promote shows, the way you perform shows and the way you sell merch during and after the show are all separate (yet connected) processes. Analyze each process, break processes down into behaviors, measure outcomes, root cause, set new goals/new behaviors and repeat.

Always be the weakest person in the room. The people surrounding you should be people that you'd want to work for; people that are faster, smarter and generally better than you. While creativity is not a democracy, having strong, thoughtful personalities in an organization is key to getting the best results.

Create an environment of learning; don't relish in what you know but instead be concerned about your knowledge gap. When talking to artists I'm frequently confused by the disconnect between what they want to accomplish in the music business and how little they know about the music business. Find an artist you admire whose career reflects a realistic next step for you and see what you can learn by researching their career path. Heck, you might even try contacting them (respectfully) and asking a few key questions. I also find immense value in scanning other industries for valuable practices or ideas. The internet is full of great information should you take the time to filter and look. And from time to time when stuck, hire a consultant or adviser to help you un-stick you.

Have short, medium and long term goals for your business. Few of us travel long distance without a map yet I'm shocked how many artists go day in and day out without a career road map. Once a year, sit down with pen and paper, break your business down in to manageable categories, set goals around those categories and develop action steps around each goal. Your road map should be a living document consulted and adjusted on a day to day basis!

I've been apart of many conversations comparing the music business culture to a battle between left and right brain governance. I'm sure the truth is somewhere in the middle; great art doesn't sell itself and business doesn't create great art. All the more reason artists that straddle both the creative and commerce sides of the business will be the new industry trail blazers.









 
 

javier mendoza 'you' | that's a wrap!

After several months of tackling one song at a time, I'm happy to say that Javier Mendoza's new record 'You' is drawing to a close. Working on this record with Javi has been a rewarding experience - the most significant take-away of which has been the building of a creative closeness and friendship with Javier.

If you have followed this project at all, you'd know that in early March, I joined Javier on a quick performance trip to Kentucky after which we set up a small demo studio in an ridiculously quaint cottage just outside Cincinnati courtesy of Rick Cobourn and Janine Hooverman. And course, I cannot forget great indie music advocate Jay Brandt for his help in orchestrating such a great trip.

The goal in making 'You' was to really take Javier's music in a different direction while offering the record in two versions; Spanish and English. I feel that this record offers a new level of songwriting for Javier and directionally offers truly amazing supporting roles by the usual cast of characters: Joe Meyer and Dennis Stringfield on drums, Eric Grossman and Logan Detering on Bass, R. Scott Bryan playing percussion and nearly everything on the track entitled 'You', Jim Stevens and Dawn Weber offered great horn work, Jim Peters on guitar and of course, Javier on guitar and vocals. As I have said before - I am so thrilled with pianist David Aholt's contribution to this record. Great, great work.

Although I contributed significantly to the arrangement and direction of 'You' - I actually played very little on this record. Instead my role has been more engineer and over arching captain of the creative ship. In this regard - this record has been a shift for me in that it's required a more indirect influence on the creative space. Mixes are nearly done and we're scheduled to hit mastering first part of next week with guru Brad Sarno - I can't wait to hear Brad's work.

The release show is already booked and tickets are on sale. The first three hundred tickets sold will receive a free copy of the new record. Get your tickets today by clicking, here!

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new england | i wish it was home.

The last 1o days have been jam packed full of great people, great music and amazing conversation. More than anything, I am so touched by the generosity and hospitality of all my friends out here - I am so, so grateful for the time and connection with all of you.

I landed in Manchester, New Hampshire hopped in Billy Petty's car and after a quick pit stop to grab dog food for Dora, trekked to Portland, Maine for a gig at a tiny, eclectic place called 'Blue'. It was here that I tasted one of the most amazing beers ever - Allagash Curieux; a tripel ale aged in used Jim Beam barrels. Ah - and prior to Amy's gig, we saw the red-headed woman from 'Sex in the City' at comic shop in Portland.

The next morning, Amy and I headed out early for a gig a The Berkshire Muse Fest in Pittsfield,MA. Despite being super hot and sweaty (amplified by carrying all of Amy's stuff around) it was a day full of great music. Just prior to Amy playing her set, I had a chance to talk with Sarah Bettens in person - which after shooting demo reels around for months and months was a real treat. It's always nice to finally meet someone in person and make that connection. All in all, it was just great to see Amy share a stage with the likes of Sarah Bettens, Melissa Ferrick and Susan Vega.

After grabbing breakfast with friend, I drove North of Portland to Lewiston, Maine to hang with producer, engineer and songwriter Taylor Mesple. After showing me around his studio in downtown Lewiston, Taylor pit stopped at a teeny tiny place a grabbed a handful of Maine lobsters for dinner. The rest of my evening was spent with Taylor and his amazing family eating lobster while trying to trick his kids in to eating ANY part of their dinner. (I never realized how much time is spent getting kids to simply, eat!).

Tuesday Amy and used as a day to rifle though her catalog of tunes. We begin working on a new record for Amy in the fall so having the chance to get in on the songs at the ground floor has been great. I have to say, her new record is going to be stunning; I can't wait to get started.

Wednesday Amy and I spent the day in a few of my favorite places in New England - Rockport, MA and Gloucester, MA. We ate at the Red Skiff - walked beaches and more or less talked about big and little things for the better part of the day. The only thing that would have made that day better would have been to have Billy around - but he was busy working.

Thursday I took a trip thru Cape Cod and jumped a ferry to Martha's Vineyard to spend a day with my friend George. Beyond great conversation around the music bizz and business in general, George drove from point to point of the island culminating with a stop at the cutest grocery store I think I've ever seen. We grabbed a few steaks, tomatoes, corn and bread - and then drove to a nearby beach and strolled a bit. The highlight of the day had to have been listening to George's daughter Annabelle outline in detail all of the careers she was going to have when she got older. Sure, we all talk about what we want to do when we grow up - but this amazing kid had well plotted business plans at the age of 5. Awesome.

Friday I drove back from the Vineyard, swung thru Derry, New Hamspshire grabbed Amy and Billy and headed back to Portland, Maine for another Amy-gig. The gig was at this great little place called North Star Music Cafe. Amy shared the stage with two other super talented songwriters - Rebecca Katz and Putnam Smith. It was a songwriter in the round type show - a format that I really love. All in all - a great night of music.

Saturday inolved a trip to Portsmouth, New Hampshire to catch up with an old, dear friend - and today, Sunday - I spent the bulk of the day hanging out with guitarist Bill Derby in Manchester, New Hampshire. All I can say about that is that I might have to sneak back to Bill's house, steal most of his guitars and his cat - a Maine Coon kitten.

Altough fairly sure I've thanked all of you personally for your generosity and time, I figured I'd do so here, too. It was so great to spend what time I had with all of you and I look forward to seeing you all sooner than later.

Best,

J.

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mastering :: loudness wars.

I've been trudging through old blogs on myspace lately and re-posting those that I feel are still relevant or interesting. The one I'm re-introducing today was written after a visit with mastering engineer M. Brad Sarno @ Blue Jade Audio Mastering.

I don't want to get into too much detail on this topic. Suffice to say, if you know what the 'loudness war' is, the attached video is very informative. If this is a foreign topic for you, please watch and listen carefully.

**I just realized that the embedded file didn't carry over to my facebook feed**

http://www.youtube.com/watch?v=3Gmex_4hreQ

 
 

brain surgery at home for fun and profit!???!

It's pretty comboggling (a great word created by my friend Josh Meng - which in Menglish means confusing / mind boggling) to think that the portion of my life spent making recordings now exceeds time spent NOT making recordings. Over the years, it's fair to say that I've recorded on nearly every format available and in just about every environment imaginable.

In the early days, I'd hole up in what used to be the old coal room in my parents basement with my Yamaha four track recorder writing and recording several songs a week. On occasion I'd even rent a Tascam PortaStudio from my local music store for a month at a time. I would use these machines until they literally stopped working... And while at the time I knew nothing technically about recording and even less about gear, the whole experience was an immensely valuable learning in songwriting and process.

Since then, in addition to owning several of my own work spaces (I never liken them to world-class recording facilities) I've worked in a myriad of spare bedroom studios, semi-commercial rooms and full-on pro facilities.

Several years ago, I stumbled on Sear Sound Studios in NYC. Both Sear Sound and owner Walter Sear are mainstays in the studio world and have been for many years, advocates for the professional studio environment. And while I find myself far less rigid than Walter in his insistence of working in a world-class facility, I do find a great deal of wisdom in the analogy he draws. I decided to repost this blog because as of a few months ago, www.searsound.com was redesigned, eliminating Walter's 'articles' page.

I guess too, I decided to blog about this after discussing the decline of music qualitatively with my new-found friend George Howard (@gah650) over dinner. And while I don't think either of us really arrived at a definitive answer to the question, advances and the proliferation of music technology did get strong mention. But I think beyond everything, what's often omitted from the record making process these days is experience. And the decline in experience and wisdom throughout the recording process is at the heart of Walter's blog. Again - I'd link to the blog, but it's no longer available; the following is from a web clipping I grabbed long ago.

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++++

DO BRAIN SURGERY AT HOME
FOR FUN AND PROFIT

I'm not very technical but I just love doing brain surgery. I couldn't see wasting all that time to get an undergraduate degree in science, then wasting four more years in medical school and another three or so as a resident, but I'm sure that I can make up for the deficit with my enthusiasm and my love of brain surgery.

First of all, you really don't need to be in a big fancy building like a hospital. I use my ping-pong table in the basement to do my surgery. (I do throw a plastic sheet over it to preserve the paint). By doing it at home, I save on rent. I admit that sometimes the neighbors complain about the occasional screams that they hear, especially late at night.

Next thing is the equipment. They have all of that shiny stuff in the operating room and believe me, you don't really need it. I equipped my Operating Room at my local 99 cent store. At the hardware department, pick up a hack saw. This is very handy for cutting off the top of the skull. If you want to get fancy, pick up a cross-cut saw, for emergencies. A good claw hammer is handy for removing any extra bone that you missed with the saws.

Move on to the housewares department. Here, for $.99, you can get a whole set of steak knives. These are very sharp and they are good for the fine work. For the rough work--get a bread knife.

In the sewing department, you can pick up a sewing kit with all kinds of needles and different colored threads This is handy to sew the scalp back in place. You can also get a set of three different-sized scissors. Sometimes they come in handy.

There! For $7 to $8, you can completely equip your operating room.

On TV, you see the OR full of assistants. This is a waste of space. If you really watch them, they are all just standing around doing nothing. In my home operating room, I have eliminated all of these unnecessary people. I do, however, engage the family dog to sit under my operating table to clean up the scraps.

You see how simple it is to do brain surgery at home? Anyone with a love of brain surgery can do it. I never read Grey's Anatomy although I did see a copy once. Very nice pictures but half of it was in Latin. Who wants to bother with that! If you really want to be a brain surgeon, all you need is the desire and enthusiasm.

My prices are very cheap since I don't have all that stupid overhead.

ANYONE NEED TO HAVE A BRAIN TUMOR REMOVED? CALL ME.

Walter Sear

 
 

co-creation & intention.


If you are anything like me, you've long ago abandoned your myspace page. Anyhow, while perusing my page (http://www.myspace.com/jacobdetering) I stumbled on an old blog/image that startled me, again. I thought I might as was well post it again as it speaks volumes about me as a person:

"It's strange how every once and awhile, you stumble on something or someone that encapsulates something you think or feel so perfectly, it's almost shocking. If you're ever wondering what the hell i'm thinking - this postsecret.com entry pretty much says it all."

 
 

planning to make a record, what's next?

My partner Lauren Markow mentioned in passing conversation that in addition to blogging about the goings on in my musical world, I should begin scripting short utilitarian blogs about the record making process. As with most things, getting started is always the hardest part and at first attempt at writing, I got stuck in the usual places: What do I know about anything? Where would I begin?

Here's a novel idea - how 'bout at the beginning?

Making records is an often cathartic, emotional experience for artists. After all, it's in many ways akin to the birthing process; watching a song enter the physical world, growing from nucleus of an idea into a full on art piece. That being said, I feel it critical when considering the record making process, to set those feelings aside and honestly assess what the record needs to do for you and your career. Are you making a record as a keepsake or benchmark of your artistic growth? Or are you crafting a tool that will serve to further your career? Answer dependent, you should then decide direction, approach and ultimately the budget for your project. This considered, the following are things I frequently run into as a producer/engineer which have potential to make or break a project:

Songs are everything (songs are boss!)::
Send me your demos sooner than later. And while at it, send me everything! Songs are obviously the cornerstones of a good record. No amount of polishing, gear or playing can change that. I like to be involved in helping make play list decisions and working thru re-writes if necessary. I have a gigantic imagination, so don't bother making clean demos; if I can hear chord changes and words, I'm usually fine. If I tell you a song is 'weak' it doesn't mean I don't like you or your songs. It simply means I think you have better material in you.

Right part, right instrument::
Nothing will impact the sound or landscape of a recording like the right part performed on the right instrument. If I had a dollar for every time a drummer loaded in a 27 piece drum kit complete with piccolo snare drum and roto toms and proceeded to tell me he fancies John Bonham-esque drum sounds I'd be a wealthy man. Despite what you might think, you cannot make something sound like something it's not. Carpenters and mechanics all adhere to a simple philosophy: Use the right tool for the job, people!

The studio is not your basement::
Playing in the studio is a honed skill. For drummers, studio work is far more about playing the room and self-balancing the kit (kick to snare, snare to hat, etc) than it is about chops. Be organized about your ideas and execute them in an articulate, organized fashion! This means, don't noodle; play parts. Most brilliant session players I work with are systematic in their approach usually playing just time and fundamentals for the first several takes followed with crazier approaches after we're sure we have the part. Listen to your favorite records and REALLY assess what you hear. Here's a secret: You don't hear drum fills, guitar solos and noodling. Instead, you hear organized, memorable parts and usually, SONGS.

Listening is an art, the studio affords perspective::
Making records allows you to really hear what works and what doesn't. If you come in too sold on your own parts, you often lose the benefit of perspective that the studio offers. My guess is this is why the great players, engineers, producers and mixers all say that making music is truly the art of LISTENING, not playing.

Make your best record, not a record that's already been made::
People often ask me what happened to the music business. While I could give you a million answers, - I think the most accurate one has something to do with artists defining their success relational to something else they know as successful. Writing and making records has become a winnowed process much like a funnel. As you pour your ideas in - the options are abundant; you have creativity in writing, arrangement and engineering. But as you apply the 'success filter' to your process, you start trying to make your art sound like something else already deemed successful. You in turn choose from a palette of five 'successful' guitar sounds, three 'hot' snare and kick drum samples and you abandon your own creative, sonic signature.

Plan your work and work your plan::
In conversations with artists over the last few years, I've been offering the following advice: Assume the record itself will change nothing and that it's everything else that will make or break your career. Trust me, as someone that makes records this is tough for me to say. However, I truly believe that success with selling a record has far more to do with support/sales systems created than the creative/sonic perfection of your recording. Spend time planning about how to increase your visibility, ability to sell product and merch both online and off the stage.

J.

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