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Hot topic Brad Sundberg Seminars: Making Music With Michael Jackson
- Thread starter morinen
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myosotis
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Re: Brad Sundberg seminars: Making Music With Michael Jackson
Brad on headphones...
--------------------------------------------------------------------------
The Headphone Challenge.
In my recent series about the mechanics of working with Michael in the studio, (speakers, then microphones), I want to briefly discuss headphones.
I wrote about headphones some months ago, but we have many new FB followers since then, and... I'm in a writing mood. And yes, this one will be slightly technical... sorry.
Cyndi McCarthy Finno asked a question a week ago about what singers listen to in the their headphones. A good question, particularly if you have not worked in studios. Let me try to explain how a studio can be used to record vocals - as there are different methods. For obvious reasons I'll focus on how we recorded Michael's vocals.
A studio is designed in such a way that the control room (the room with the console, recording gear, big speakers, etc.) is acoustically separated from the studio, or overdub room - where the singer... sings. This means that music playing in the control room cannot be heard in the studio, where the singer is going to sing. So we give the singer headphones to listen to the song.
Now, if you have ever sung along with a song on your headphones or earbuds, you might think that your voice sounds good, but in reality it might be completely out of tune - because you can't hear yourself. (Note - everyone else can, so please sing softly). So in the studio, we send the feed from the microphone back to the headphones, and mix it with the music. This way the singer can hear themselves, which is essential for tempo and pitch. It also gives the engineer the option of giving the singer a special mix, for example adding a bit more keyboard, if they need help finding the notes.
This is also very common for live events, when you see the singer with custom in-ear receivers to hear their voice and the music, at the right blend, even in an arena of screaming fans. It takes some getting used to, but a good engineer can give the singer the exact mix they like.
Back to the studio, which brings us to the headphones themselves. Back during the Bad album, we had a hard time finding headphones that Michael liked, and would get loud enough for him. He liked his headphones loud... like jet-engine loud. We went through Sennheisers, Sonys, AKGs, etc., until we finally found a pair that held up pretty good to MJ volume: The lowly Fostex T-20.
The Fostex T-20 gave Michael the volume and clarity he wanted. Like the Shure SM-7, the Fostex is not the most expensive model available, it just worked the best for us in this application. Michael wanted loud, we gave him loud. The other piece of the puzzle is the power feeding the headphones. We weren't using iPod-type amplifiers - we were using the exact same amplifiers used to power the studio monitors. In other words, we were pumping 200-300 watts per channel into a little pair of headphones. (We can discuss headphone impedance another time, just stay with me).
So, let's recap. Michael wants to drop a lead vocal on "Speed Demon." We've already got the tapes ready with a lot of empty tracks for his voice; the microphone and preamp are all set; the "headphone mix" is already prepped on the console; the studio is empty except for a very small crew; the lights are dim in the studio so Michael can be comfortable; we have hot water ready for him to sip on between takes; and the headphones have been tested - at jet-engine volume. We even have a back-up set of phones ready to go, because soon or later (more likely sooner) he will blow them up.
All the pieces need to come together for a good vocal recording, from microphone to preamp to console to headphones - and the dozens of bits in-between. But the best studio, the best engineer, the best headphones, the best everything cannot replace the most important element of all: The singer. We just did everything we could to capture his voice as accurately as possible, and make the experience for him as comfortable as possible.
Cyndi McCarthy Finno, I hope that answers your question.
Brad
Brad on headphones...
--------------------------------------------------------------------------
The Headphone Challenge.
In my recent series about the mechanics of working with Michael in the studio, (speakers, then microphones), I want to briefly discuss headphones.
I wrote about headphones some months ago, but we have many new FB followers since then, and... I'm in a writing mood. And yes, this one will be slightly technical... sorry.
Cyndi McCarthy Finno asked a question a week ago about what singers listen to in the their headphones. A good question, particularly if you have not worked in studios. Let me try to explain how a studio can be used to record vocals - as there are different methods. For obvious reasons I'll focus on how we recorded Michael's vocals.
A studio is designed in such a way that the control room (the room with the console, recording gear, big speakers, etc.) is acoustically separated from the studio, or overdub room - where the singer... sings. This means that music playing in the control room cannot be heard in the studio, where the singer is going to sing. So we give the singer headphones to listen to the song.
Now, if you have ever sung along with a song on your headphones or earbuds, you might think that your voice sounds good, but in reality it might be completely out of tune - because you can't hear yourself. (Note - everyone else can, so please sing softly). So in the studio, we send the feed from the microphone back to the headphones, and mix it with the music. This way the singer can hear themselves, which is essential for tempo and pitch. It also gives the engineer the option of giving the singer a special mix, for example adding a bit more keyboard, if they need help finding the notes.
This is also very common for live events, when you see the singer with custom in-ear receivers to hear their voice and the music, at the right blend, even in an arena of screaming fans. It takes some getting used to, but a good engineer can give the singer the exact mix they like.
Back to the studio, which brings us to the headphones themselves. Back during the Bad album, we had a hard time finding headphones that Michael liked, and would get loud enough for him. He liked his headphones loud... like jet-engine loud. We went through Sennheisers, Sonys, AKGs, etc., until we finally found a pair that held up pretty good to MJ volume: The lowly Fostex T-20.
The Fostex T-20 gave Michael the volume and clarity he wanted. Like the Shure SM-7, the Fostex is not the most expensive model available, it just worked the best for us in this application. Michael wanted loud, we gave him loud. The other piece of the puzzle is the power feeding the headphones. We weren't using iPod-type amplifiers - we were using the exact same amplifiers used to power the studio monitors. In other words, we were pumping 200-300 watts per channel into a little pair of headphones. (We can discuss headphone impedance another time, just stay with me).
So, let's recap. Michael wants to drop a lead vocal on "Speed Demon." We've already got the tapes ready with a lot of empty tracks for his voice; the microphone and preamp are all set; the "headphone mix" is already prepped on the console; the studio is empty except for a very small crew; the lights are dim in the studio so Michael can be comfortable; we have hot water ready for him to sip on between takes; and the headphones have been tested - at jet-engine volume. We even have a back-up set of phones ready to go, because soon or later (more likely sooner) he will blow them up.
All the pieces need to come together for a good vocal recording, from microphone to preamp to console to headphones - and the dozens of bits in-between. But the best studio, the best engineer, the best headphones, the best everything cannot replace the most important element of all: The singer. We just did everything we could to capture his voice as accurately as possible, and make the experience for him as comfortable as possible.
Cyndi McCarthy Finno, I hope that answers your question.
Brad
The Little Toy Train
December 19, 2014- Sources: In The Studio With Michael Jackson – By Brad Sundberg
Every year around this time our house is full of decorations as we are getting ready for Christmas. I was walking upstairs a couple evenings ago and I noticed something I have seen countless times before, but I haven’t really told the story very often.
When we started building Neverland, one of the first projects was the train. Yes, eventually there were two trains, but I am talking about the “little” train, not the big steam train that would come later.
The little train had several “issues” that had to be worked out (it would seem to always get stuck at the bottom of a slight incline past the main house, and guests would sometimes have to jump off to give it a push), but it was a fun little train. I found some “light classical” music to play on the little train, and Michael liked it. It was one of our first ranch projects together, so it holds a lot of good memories.
Before too long the big steam train was commissioned. A much larger project, a pretty amazing music and light system was installed (if I do say so myself), and soon the big train became a central focus at Neverland. I’ve told you about the big train before, but it really was beautiful. You could hear the whistle on it from anywhere on the ranch, and on a clear night you could hear it miles away. It goes without saying that Michael had a Disney-type fixation with trains, and why not? Trains are just cool.
Fast forward a bit to 1994 – the HIStory project in New York. We invaded the Hit Factor on W. 54th like a small army, and immediately starting setting it up for an MJ album. We brought in racks of equipment, Bruce’s personal mic collection (I think it was 15 Anvil cases!), speakers, amps, computers, heaters, copy machines, tape machines – the works.
One of the countless projects was to prep Michael’s lounge. We gave him a pretty large private room on the ground floor down the hall from Studio 4. He and Lisa Marie hung out in there quite a bit, and he would use it for meetings, entertaining guests, etc. Matt Forger and I set out to create a room that he would hopefully get a kick out of. We brought in movie posters, Bugs Bunny and Disney artwork, toys and stuffed animals, a TV and stereo, anything that we thought he would enjoy. I’m not gonna lie, it was a fun project. Over time his guests and fans would send more items, which were added to the now-cluttered lounge.
One of the things I purchased and set up for Michael was an LGB model train. I’ve always loved trains, and it just made sense to have a train that was similar to the big stream train back at Neverland chugging around his lounge. It was one of my favorite parts of the room, and it always made me happy to see it slowly chugging around the tracks when I would go in to talk to Michael about something.
The project ended, and we delivered a pretty cool album (side two is my favorite, if I can talk in old-school terms), and we started packing up the studio – not a small feat. Through a vigorous arm-wrestling match, I wound up with the little train. (At least that’s how I remember it.) The truth is, I really wanted to bring it home, and that’s how it worked out.
The train has been part of our family since 1995, and every year my girls set it up around a small Christmas tree upstairs. The train has been used to carry their dolls and stuffed animals for years. It has been involved in home movies, skits involving dolls not quite getting out of it’s way in time, and so on. You know… train stuff.
The funny thing is they don’t refer to it as “Michael’s train”, nor does it garner any special attention. It is just part of our family, part of our traditions. I don’t even give it a whole lot of thought. At least I didn’t… until a couple nights ago when I saw it chugging faithfully around their Christmas tree.
It has a few squeaks and scratches, but I wouldn’t change it for anything. It is a beautiful toy, and my girls enjoy it. So do I.
Michael, your little train is in good hands, and it has brought many years of joy, laughter and memories to our family.
Thanks… and Merry Christmas
December 19, 2014- Sources: In The Studio With Michael Jackson – By Brad Sundberg
Every year around this time our house is full of decorations as we are getting ready for Christmas. I was walking upstairs a couple evenings ago and I noticed something I have seen countless times before, but I haven’t really told the story very often.
When we started building Neverland, one of the first projects was the train. Yes, eventually there were two trains, but I am talking about the “little” train, not the big steam train that would come later.
The little train had several “issues” that had to be worked out (it would seem to always get stuck at the bottom of a slight incline past the main house, and guests would sometimes have to jump off to give it a push), but it was a fun little train. I found some “light classical” music to play on the little train, and Michael liked it. It was one of our first ranch projects together, so it holds a lot of good memories.
Before too long the big steam train was commissioned. A much larger project, a pretty amazing music and light system was installed (if I do say so myself), and soon the big train became a central focus at Neverland. I’ve told you about the big train before, but it really was beautiful. You could hear the whistle on it from anywhere on the ranch, and on a clear night you could hear it miles away. It goes without saying that Michael had a Disney-type fixation with trains, and why not? Trains are just cool.
Fast forward a bit to 1994 – the HIStory project in New York. We invaded the Hit Factor on W. 54th like a small army, and immediately starting setting it up for an MJ album. We brought in racks of equipment, Bruce’s personal mic collection (I think it was 15 Anvil cases!), speakers, amps, computers, heaters, copy machines, tape machines – the works.
One of the countless projects was to prep Michael’s lounge. We gave him a pretty large private room on the ground floor down the hall from Studio 4. He and Lisa Marie hung out in there quite a bit, and he would use it for meetings, entertaining guests, etc. Matt Forger and I set out to create a room that he would hopefully get a kick out of. We brought in movie posters, Bugs Bunny and Disney artwork, toys and stuffed animals, a TV and stereo, anything that we thought he would enjoy. I’m not gonna lie, it was a fun project. Over time his guests and fans would send more items, which were added to the now-cluttered lounge.
One of the things I purchased and set up for Michael was an LGB model train. I’ve always loved trains, and it just made sense to have a train that was similar to the big stream train back at Neverland chugging around his lounge. It was one of my favorite parts of the room, and it always made me happy to see it slowly chugging around the tracks when I would go in to talk to Michael about something.
The project ended, and we delivered a pretty cool album (side two is my favorite, if I can talk in old-school terms), and we started packing up the studio – not a small feat. Through a vigorous arm-wrestling match, I wound up with the little train. (At least that’s how I remember it.) The truth is, I really wanted to bring it home, and that’s how it worked out.
The train has been part of our family since 1995, and every year my girls set it up around a small Christmas tree upstairs. The train has been used to carry their dolls and stuffed animals for years. It has been involved in home movies, skits involving dolls not quite getting out of it’s way in time, and so on. You know… train stuff.
The funny thing is they don’t refer to it as “Michael’s train”, nor does it garner any special attention. It is just part of our family, part of our traditions. I don’t even give it a whole lot of thought. At least I didn’t… until a couple nights ago when I saw it chugging faithfully around their Christmas tree.
It has a few squeaks and scratches, but I wouldn’t change it for anything. It is a beautiful toy, and my girls enjoy it. So do I.
Michael, your little train is in good hands, and it has brought many years of joy, laughter and memories to our family.
Thanks… and Merry Christmas
Beluga2805
Proud Member
Re: Brad Sundberg seminars: Making Music With Michael Jackson
I have a question for those who have attended the seminar especially since the ban on unreleased materials and other updates - is the seminar worth the ticket price?
I'm asking this question because a couple of seminars will be held this weekend in my country. While I've always been looking forward to attending the seminar, looking at the ticket price, I find myself hesitating...
I have a question for those who have attended the seminar especially since the ban on unreleased materials and other updates - is the seminar worth the ticket price?
I'm asking this question because a couple of seminars will be held this weekend in my country. While I've always been looking forward to attending the seminar, looking at the ticket price, I find myself hesitating...
SkysTheLimit
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Re: Brad Sundberg seminars: Making Music With Michael Jackson
I unfortunately haven't been but i know many people who have and they say it's worth every penny you pay! So i'd say go for it! It's a great opportunity to see Michael's creative process!
I'd really like to go to one myself, but for this year he has no plans of coming to Dallas/Ft. Worth. maybe next year.
I unfortunately haven't been but i know many people who have and they say it's worth every penny you pay! So i'd say go for it! It's a great opportunity to see Michael's creative process!
I'd really like to go to one myself, but for this year he has no plans of coming to Dallas/Ft. Worth. maybe next year.
wednesday
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Re: Brad Sundberg seminars: Making Music With Michael Jackson
Hi Beluga2805!
I went to one of Brad's seminars and had a VIP ticket. Personally I didn't think it was worth the price. Sure, I had a nice evening, but I kept thinking the whole time that I didn't really learn anything new, at least nothing that was worth the price. Also, Brad kept saying that he is only a technician and so can't really get into Michael's creative process.
Having said that, most fans I encountered at the seminar acted as if it was the best event they had ever attended.
If you should decide to go, I would recommend not getting the VIP ticket. In all honesty, I think the only advantage you'll have for the extra money is that you get to chose better seating than the fans who'll join 2 hours later. Other than that I thought the fans who arrived later, hadn't missed a thing and also got all their questions answered and photographs with Brad taken. Also, during the VIP time the crew was still setting up the whole thing so it didn't really feel VIP at all.
Of course, if you are one of the fans who like to get all close and personal with Brad so he'll know your name and call it out during the seminar so you'll feel all special than go for the extra 2 hours. But again, that would be 10 hours in a (usually) smelly recording studio.
Hope that helped a little!
Hi Beluga2805!
I went to one of Brad's seminars and had a VIP ticket. Personally I didn't think it was worth the price. Sure, I had a nice evening, but I kept thinking the whole time that I didn't really learn anything new, at least nothing that was worth the price. Also, Brad kept saying that he is only a technician and so can't really get into Michael's creative process.
Having said that, most fans I encountered at the seminar acted as if it was the best event they had ever attended.
If you should decide to go, I would recommend not getting the VIP ticket. In all honesty, I think the only advantage you'll have for the extra money is that you get to chose better seating than the fans who'll join 2 hours later. Other than that I thought the fans who arrived later, hadn't missed a thing and also got all their questions answered and photographs with Brad taken. Also, during the VIP time the crew was still setting up the whole thing so it didn't really feel VIP at all.
Of course, if you are one of the fans who like to get all close and personal with Brad so he'll know your name and call it out during the seminar so you'll feel all special than go for the extra 2 hours. But again, that would be 10 hours in a (usually) smelly recording studio.
Hope that helped a little!
thiron
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Re: Brad Sundberg seminars: Making Music With Michael Jackson
I've been to one of the V2.0 seminars. Wheter or not its worth the money depends on yourself. If you didn't read every summary of Brad's events and love to hear stories from a longtime friend of MJ as well as be able to ask questions in person, then go for it.
Most people at the seminar were very happy with it. I enjoyed it, too, but in my personal opinion the price was way to high for the stuff provided. I read every write-up of previous seminars, so I already knew about 75% of all stories Brad told us. The Estate's ban of audio/video stuff hit Brad pretty bad, too. The childhood video and creation of Give in to Me are by far not the only things removed. Most of the stuff he showed us is the stuff every hardcore fan already knows.
Fortunately, Brad showed us a little of the stuff not available anywhere. That were the real highlights of the seminar and I'm really grateful for that.
I've been to one of the V2.0 seminars. Wheter or not its worth the money depends on yourself. If you didn't read every summary of Brad's events and love to hear stories from a longtime friend of MJ as well as be able to ask questions in person, then go for it.
Most people at the seminar were very happy with it. I enjoyed it, too, but in my personal opinion the price was way to high for the stuff provided. I read every write-up of previous seminars, so I already knew about 75% of all stories Brad told us. The Estate's ban of audio/video stuff hit Brad pretty bad, too. The childhood video and creation of Give in to Me are by far not the only things removed. Most of the stuff he showed us is the stuff every hardcore fan already knows.
Fortunately, Brad showed us a little of the stuff not available anywhere. That were the real highlights of the seminar and I'm really grateful for that.
Beluga2805
Proud Member
Re: Brad Sundberg seminars: Making Music With Michael Jackson
Much thanks to SkysTheLimit, wednesday and Thiron! I really appreciate your opinions and accounts of the seminar. Every review of the seminar I've read so far has been more or less positive, so it was interesting to hear the candid thoughts of those who actually attended.
I decided on not going this time. Being able to ask questions in person is quite appealing, and I'm grateful for Brad for shedding light on MJ as a recording artist, a side of him which seldom receive the attention it deserves.
But yeah, I wish the ticket price were like $100 instead of $199 'cause in that case I wouldn't have thought twice about going.
Much thanks to SkysTheLimit, wednesday and Thiron!
I really appreciate your opinions and accounts of the seminar. Every review of the seminar I've read so far has been more or less positive, so it was interesting to hear the candid thoughts of those who actually attended. I decided on not going this time. Being able to ask questions in person is quite appealing, and I'm grateful for Brad for shedding light on MJ as a recording artist, a side of him which seldom receive the attention it deserves.
But yeah, I wish the ticket price were like $100 instead of $199 'cause in that case I wouldn't have thought twice about going.
smoothvillain
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Re: Brad Sundberg seminars: Making Music With Michael Jackson
I have been to 3 of Brad's seminars all held in Orlando.
The first one was the best one out of three probably because it was the first time being exposed to this kind of thing. Highlights for me were the never heard "I Can't Help It" alternate take played with only piano and drums, "Someone Put Your Hand Out" and "For All Time" alternate take, the home videos of Michael playing the Theramin with Sean Lennon, The Family Friday Video with the crew, and of course the Childhood video. Hearing Michael clear his throat before lines was something I never could've pictured.
All the demos he played were fun to listen to, he let us listen to some of the harmonies Michael came up with for Liberian Girl which were neat. And when he let us listen to an unreleased demo of Faces, it began with Michael speaking like a poet before going into a super heavy drumbeat. That was definitely a highlight.
Honestly, if I went back the next time and it was the EXACT same seminar, I would be satisfied. It was that good.
I have been to 3 of Brad's seminars all held in Orlando.
The first one was the best one out of three probably because it was the first time being exposed to this kind of thing. Highlights for me were the never heard "I Can't Help It" alternate take played with only piano and drums, "Someone Put Your Hand Out" and "For All Time" alternate take, the home videos of Michael playing the Theramin with Sean Lennon, The Family Friday Video with the crew, and of course the Childhood video. Hearing Michael clear his throat before lines was something I never could've pictured.
All the demos he played were fun to listen to, he let us listen to some of the harmonies Michael came up with for Liberian Girl which were neat. And when he let us listen to an unreleased demo of Faces, it began with Michael speaking like a poet before going into a super heavy drumbeat. That was definitely a highlight.
Honestly, if I went back the next time and it was the EXACT same seminar, I would be satisfied. It was that good.
HIStory
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Re: Brad Sundberg seminars: Making Music With Michael Jackson
https://www.facebook.com/inthestudiowithmj/posts/383904448450122
https://www.facebook.com/inthestudiowithmj/posts/383904448450122
Themidwestcowboy
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Re: Brad Sundberg seminars: Making Music With Michael Jackson
These seminars makes me more exited than Xscape lol
These seminars makes me more exited than Xscape lol
barbee0715
Proud Member
Re: Brad Sundberg seminars: Making Music With Michael Jackson
I'd love to read his book.
Oh I totally agree with that!! He really has a way with words and you feel like you're right there at the studio with him.
I'd love to read his book.
TarinJade
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Re: Brad Sundberg seminars: Making Music With Michael Jackson
I'm just grateful I went early and was able to experience this stuff before he started getting restricted. :no:
I'm just grateful I went early and was able to experience this stuff before he started getting restricted. :no:
myosotis
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Re: Brad Sundberg seminars: Making Music With Michael Jackson
Something extra from Brad in New York on 20th Feb.... 'A Slice of History'
-------------------------------------------------------------------------------------------------------------
If you've read my posts, you know how much I love New York, and how it has played an important role in Michael's music, particularly the HIStory album.
On Saturday, Feb 21st, we will be back in New York (Granny is coming with me!) to present my full seminar at Smash Studios.
But, I am working on a little something extra.
On Friday night, Feb 20th, I am putting together an event like nothing I have ever done before. Being back in New York, just blocks away from where HIStory was recorded, wouldn't it be fun to hear some stories from the guys I worked with in the studio? Just some old friends talking about how that project came together, remembering details from certain songs, etc.
Maybe get some pizza and few beers.
Maybe Skype in a couple of my friends. Maybe an engineer or two. Maybe a songwriter/musician. Hmmmm.... this might be fun.
Music. Stories. Memories. Meet the guys that were there. Ask them questions, learn about what it was like. Kick our shoes off, eat some pizza and share a laugh or three.
We need to call it something... but what?
"Pizza and Memories!" That's awful.
"Hangin' with the Studio Cats!" That's actually worse.
"Relax... and Chew It!" Ummm, no.
"A Slice of HIStory!" Hmmm....
OK... "A Slice of HIStory" might be a goofy name, it does have a few things going for it: Food, beer (21 and over - soft drinks also available for everyone), a cool studio, great music - and a few guys joining us via Skype who I think you are going to want to meet.
This event is completely different from the seminar the following day, so if you want a mega-MJ weekend, you might consider both. And yes, I will offer a discount for "A Slice of HIStory" if you already purchased a ticket to Saturday's seminar.
Tickets will go on sale tomorrow night.
https://www.facebook.com/inthestudiowithmj
(Keep a look out on Ticketbud)
https://inthestudiowithmichaeljackson.ticketbud.com/in-the-studio-with-mj-new-york
Something extra from Brad in New York on 20th Feb.... 'A Slice of History'
-------------------------------------------------------------------------------------------------------------
If you've read my posts, you know how much I love New York, and how it has played an important role in Michael's music, particularly the HIStory album.
On Saturday, Feb 21st, we will be back in New York (Granny is coming with me!) to present my full seminar at Smash Studios.
But, I am working on a little something extra.
On Friday night, Feb 20th, I am putting together an event like nothing I have ever done before. Being back in New York, just blocks away from where HIStory was recorded, wouldn't it be fun to hear some stories from the guys I worked with in the studio? Just some old friends talking about how that project came together, remembering details from certain songs, etc.
Maybe get some pizza and few beers.
Maybe Skype in a couple of my friends. Maybe an engineer or two. Maybe a songwriter/musician. Hmmmm.... this might be fun.
Music. Stories. Memories. Meet the guys that were there. Ask them questions, learn about what it was like. Kick our shoes off, eat some pizza and share a laugh or three.
We need to call it something... but what?
"Pizza and Memories!" That's awful.
"Hangin' with the Studio Cats!" That's actually worse.
"Relax... and Chew It!" Ummm, no.
"A Slice of HIStory!" Hmmm....
OK... "A Slice of HIStory" might be a goofy name, it does have a few things going for it: Food, beer (21 and over - soft drinks also available for everyone), a cool studio, great music - and a few guys joining us via Skype who I think you are going to want to meet.
This event is completely different from the seminar the following day, so if you want a mega-MJ weekend, you might consider both. And yes, I will offer a discount for "A Slice of HIStory" if you already purchased a ticket to Saturday's seminar.
Tickets will go on sale tomorrow night.
https://www.facebook.com/inthestudiowithmj
(Keep a look out on Ticketbud)
https://inthestudiowithmichaeljackson.ticketbud.com/in-the-studio-with-mj-new-york
Last edited:
barbee0715
Proud Member
Re: Brad Sundberg seminars: Making Music With Michael Jackson
Actually I hope he has been taping these sessions. With permission and approval from the Estate it would be nice to have a "best of" DVD.
Actually I hope he has been taping these sessions. With permission and approval from the Estate it would be nice to have a "best of" DVD.
myosotis
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Re: Brad Sundberg seminars: Making Music With Michael Jackson
Latest from Brad
-----------------------------------------------
The New York edition of "In The Studio With MJ" is less than three weeks away, and "A Slice of HIStory" is really coming together.
Here's the quick rundown:
On Friday night, February 20, I have booked Smash Studios for a few hours to try something completely different. You see, we recorded the HIStory album in NY exactly 21 years ago (!), just a few blocks up from Smash at Hit Factory. HIStory had a very different feel than Dangerous, and I want to dig into it for an evening. We are going to meet at Smash, order in some pizzas and beer/soft drinks, and Skype in a few of my friends from LA who were with us in the studio for those sessions.
I can't divulge names just yet, but I can assure you these guys were vital parts of the team. I was chatting with one of them tonight and he is so excited to talk about "2Bad" and "Scream". One of my favorites - "Stranger In Moscow" - will certainly be discussed. You have a question? One of us will certainly have an answer, or at least an opinion.
It's not college, it's not a master class - but I think it could be a really cool evening for people who love Michael's music. I can assure you there will be a lot of laughter as the stories start coming out. There will be no script - I think it's more fun that way. This will be a great night for anyone who wants to learn how the HIStory project grew from a best-of album to one of Michael's more intensive projects. It could be argued that HIStory is his masterpiece. All that - and pizza!
If you have already purchased a ticket to my full Saturday seminar, you will receive a $40 refund after you purchase your ticket to "A Slice of HIStory". If you only want to come to "A Slice of HIStory", that's fine also.
Everyday create your history, and I'll see you in three weeks in New York!
Tickets are on sale now directly from Ticketbud at http://tinyurl.com/qyp3lll
Latest from Brad
-----------------------------------------------
The New York edition of "In The Studio With MJ" is less than three weeks away, and "A Slice of HIStory" is really coming together.
Here's the quick rundown:
On Friday night, February 20, I have booked Smash Studios for a few hours to try something completely different. You see, we recorded the HIStory album in NY exactly 21 years ago (!), just a few blocks up from Smash at Hit Factory. HIStory had a very different feel than Dangerous, and I want to dig into it for an evening. We are going to meet at Smash, order in some pizzas and beer/soft drinks, and Skype in a few of my friends from LA who were with us in the studio for those sessions.
I can't divulge names just yet, but I can assure you these guys were vital parts of the team. I was chatting with one of them tonight and he is so excited to talk about "2Bad" and "Scream". One of my favorites - "Stranger In Moscow" - will certainly be discussed. You have a question? One of us will certainly have an answer, or at least an opinion.
It's not college, it's not a master class - but I think it could be a really cool evening for people who love Michael's music. I can assure you there will be a lot of laughter as the stories start coming out. There will be no script - I think it's more fun that way. This will be a great night for anyone who wants to learn how the HIStory project grew from a best-of album to one of Michael's more intensive projects. It could be argued that HIStory is his masterpiece. All that - and pizza!
If you have already purchased a ticket to my full Saturday seminar, you will receive a $40 refund after you purchase your ticket to "A Slice of HIStory". If you only want to come to "A Slice of HIStory", that's fine also.
Everyday create your history, and I'll see you in three weeks in New York!
Tickets are on sale now directly from Ticketbud at http://tinyurl.com/qyp3lll
Joe Vogel @JoeVogel1 · Feb 4th
BTW, if you haven't attended @bsunmedia's @InStudioWithMJ, you should definitely check it out. Next one is in NYC. http://inthestudiowithmj.com/seminar/
BTW, if you haven't attended @bsunmedia's @InStudioWithMJ, you should definitely check it out. Next one is in NYC. http://inthestudiowithmj.com/seminar/
myosotis
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Re: Brad Sundberg seminars: Making Music With Michael Jackson
Latest from Brad:
---------------------------------------------------------------
Always Learning.
Last night met up with a good friend of mine in NY. He is an MJ fan and a performer on Broadway. He is an entertainer and a great guy. He's not crazy (well, maybe a little), nor does he live in a fantasy world. He's a hard-working performer who loves all things MJ.
Let me try to explain why this fascinates me so much. In the studio world we had a phrase, being on the "other side of the glass". Studios have a wall separating the engineers from the artists. There are acoustic reasons for this (I'm happy to discuss isolation and low-frequency rumble and how it can create a feedback loop from the microphone to the monitor speakers, but now may not be the time), but in a weird way there is something a bit deeper. I have mentioned this before, but (speaking for myself), I was so close to Michael in the studio that I wasn't really a fan. I know that doesn't make sense, but we just loved making the music and helping him get those songs onto tape as quickly as possible.
When I was "young", there were countless albums that I loved, but there were two albums that had a deep impact on me - and actually directed my career path: "Dark Side Of The Moon" and "Thriller". I studied the sounds, the snare drums, the vocal reverbs, the layers of background vocals, the horn arrangements. I memorized every sound, and the location (panning) of each sound. Sure, I loved Pink Floyd and Michael Jackson, but (and this may sound really weird), it was the process of creating those albums that fascinated me more than the artists themselves. So when I found myself working with Michael (an absolute privilege, make no mistake), and being part of his team, I went to school every day with Bruce Swedien teaching about microphones, compressors, EQs, organization, track layout, orchestral recording, balancing reverbs, filters, etc. Boring, right? But that was my passion!
Fast forward to seeing Michael live on stage for the first time at Madison Square Garden in 1988, and I was like, "Who is that guy?" Of course I knew who he was, but I was on the other side of the glass from his fans. His fans knew "Performer Michael" way better than I did, and I guess I knew "Studio Michael" better than they did.
So last night I got to hang out with real-deal MJ fan. He collects albums, 45s, memorabilia, posters, etc. He shared just a bit of his incredible collection, but you know what was cool? He LOVES this stuff! You know how some people collect art or stamps (do people still collect stamps?) or autographs? They might have their collection behind glass or in a sealed vault somewhere - but my friend was playing the albums, passing them around for us to see, sharing stories - he loves the music and wants to share it.
We talked about Michael, and he, "Michael's impact as an entertainer is why I am an entertainer." Hmmm... that sounds a bit familiar. The soundscape of "Thriller" and "Dark Side" are what pulled me into the industry.
OK, this is not going to be a "Follow your dreams" post - I'll leave that to Disney. Rather, I love meeting fans, hearing their stories, and being able to move past the glass wall. This whole journey goes both ways - I bring people into my world - the studio - and show them a side of Michael they likely don't know. But I also get to meet them, and be reminded that contrary to what some people think, MJ fans come in every shape, age and nationality. They each seem to have that "moment" when they became a fan. They are passionate about Michael's music, and it is a part of their life. Michael's music is part of their celebrations, and the hard times. It sometimes gets deeper than I ever expected. But last night - hanging with my friend - was amazing.
I continue to learn.
Brave the cold and join me tonight and tomorrow with an amazing group of people at Smash Studios in New York! Tonight I have Rob Hoffman, Steve Porcaro and Matt Forger joining us via Facetime from the west coast to share their stories and memories from the HIStory album. Add some pizza and beverages and you have "A Slice Of HIStory." Tomorrow, we bring "In The Studio With MJ" back to New York! A full day of exploring the Bad, Dangerous and HIStory albums, plus a few surprises.
Tickets are still available - I hope you can join us!
www.inthestudiowithmj.com
Latest from Brad:
---------------------------------------------------------------
Always Learning.
Last night met up with a good friend of mine in NY. He is an MJ fan and a performer on Broadway. He is an entertainer and a great guy. He's not crazy (well, maybe a little), nor does he live in a fantasy world. He's a hard-working performer who loves all things MJ.
Let me try to explain why this fascinates me so much. In the studio world we had a phrase, being on the "other side of the glass". Studios have a wall separating the engineers from the artists. There are acoustic reasons for this (I'm happy to discuss isolation and low-frequency rumble and how it can create a feedback loop from the microphone to the monitor speakers, but now may not be the time), but in a weird way there is something a bit deeper. I have mentioned this before, but (speaking for myself), I was so close to Michael in the studio that I wasn't really a fan. I know that doesn't make sense, but we just loved making the music and helping him get those songs onto tape as quickly as possible.
When I was "young", there were countless albums that I loved, but there were two albums that had a deep impact on me - and actually directed my career path: "Dark Side Of The Moon" and "Thriller". I studied the sounds, the snare drums, the vocal reverbs, the layers of background vocals, the horn arrangements. I memorized every sound, and the location (panning) of each sound. Sure, I loved Pink Floyd and Michael Jackson, but (and this may sound really weird), it was the process of creating those albums that fascinated me more than the artists themselves. So when I found myself working with Michael (an absolute privilege, make no mistake), and being part of his team, I went to school every day with Bruce Swedien teaching about microphones, compressors, EQs, organization, track layout, orchestral recording, balancing reverbs, filters, etc. Boring, right? But that was my passion!
Fast forward to seeing Michael live on stage for the first time at Madison Square Garden in 1988, and I was like, "Who is that guy?" Of course I knew who he was, but I was on the other side of the glass from his fans. His fans knew "Performer Michael" way better than I did, and I guess I knew "Studio Michael" better than they did.
So last night I got to hang out with real-deal MJ fan. He collects albums, 45s, memorabilia, posters, etc. He shared just a bit of his incredible collection, but you know what was cool? He LOVES this stuff! You know how some people collect art or stamps (do people still collect stamps?) or autographs? They might have their collection behind glass or in a sealed vault somewhere - but my friend was playing the albums, passing them around for us to see, sharing stories - he loves the music and wants to share it.
We talked about Michael, and he, "Michael's impact as an entertainer is why I am an entertainer." Hmmm... that sounds a bit familiar. The soundscape of "Thriller" and "Dark Side" are what pulled me into the industry.
OK, this is not going to be a "Follow your dreams" post - I'll leave that to Disney. Rather, I love meeting fans, hearing their stories, and being able to move past the glass wall. This whole journey goes both ways - I bring people into my world - the studio - and show them a side of Michael they likely don't know. But I also get to meet them, and be reminded that contrary to what some people think, MJ fans come in every shape, age and nationality. They each seem to have that "moment" when they became a fan. They are passionate about Michael's music, and it is a part of their life. Michael's music is part of their celebrations, and the hard times. It sometimes gets deeper than I ever expected. But last night - hanging with my friend - was amazing.
I continue to learn.
Brave the cold and join me tonight and tomorrow with an amazing group of people at Smash Studios in New York! Tonight I have Rob Hoffman, Steve Porcaro and Matt Forger joining us via Facetime from the west coast to share their stories and memories from the HIStory album. Add some pizza and beverages and you have "A Slice Of HIStory." Tomorrow, we bring "In The Studio With MJ" back to New York! A full day of exploring the Bad, Dangerous and HIStory albums, plus a few surprises.
Tickets are still available - I hope you can join us!
www.inthestudiowithmj.com
Bubs
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Re: Brad Sundberg seminars: Making Music With Michael Jackson
Shoot, lucky New Yorkers
I loved to read Rob Hoffman's stories from Gearslutz:clapping:
Shoot, lucky New Yorkers
I loved to read Rob Hoffman's stories from Gearslutz:clapping:
myosotis
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Re: Brad Sundberg seminars: Making Music With Michael Jackson
Latest from Brad:
_________________________________________________
On Saturday, April 18 we will be in Seattle presenting "In The Studio With MJ" at The Slab - part of the Seattle Drum School. I am really excited about the new Neverland portion for VIP guests, complete with multi-point surround sound. That technique was something we used a lot at Neverland, giving guests an immersive experience into Michael's amazing ranch. I will try to recreate what Neverland sounded like as closely as possible, while giving a "virtual" tour.
VIP will start at 10am sharp, and will include a light lunch. The main seminar will start at 12-noon, and end around 7pm. The seminar will include a new portion on the drum sounds from the Bad album. We are, after all, at a drum school, so I thought it was appropriate. I'm all aware of stuff like that. I might even have a friend Skype in - you never know. Tickets are on sale now at www.inthestudiowithmj.com
----------------------------------------------------------------------------
On May 23 we will be returning to Toronto - one of my favorite cities - to visit my Canadian friends again. The last time I was in Toronto Joe Vogel hung out with my guests for the afternoon, which was a real treat. If Seattle likes the new Neverland segment, I'll likely bring it to Toronto also.
-----------------------------------------------------------------------------
Then comes June. Everyone has been patiently waiting and asking about the June events in Germany. Let me try to get you up to speed. Brad Buxer, Michael Prince and I will be in Germany for four days, for two, back-to-back events.
On June 25th/26th, we will offer a two-day event of "In The Studio With MJ", then "Bradx2 with Michael Prince."
On June 27th/28th, we will do it again, in reverse order: "Bradx2 with Michael Prince", then "In The Studio with MJ".
The Germany seminars are slated for Cologne.Brad Buxer and Michael Prince are confirmed for:
Germany, with the dates as follows:
Session One:
June 25 - In The Studio With MJ
June 26 - Bradx2 (with Brad Buxer and Michael Prince)
Session Two:
June 27 - Bradx2 (with Brad Buxer and Michael Prince)
June 28 - In The Studio With MJ
Please note that Session One and Session Two are essentially the same - each a two-day event with very similar content, allowing guests to choose the Thurs/Fri slot or the Sat/Sun.
Tickets will be sold as a two-day ticket, for either Session One or Session Two. Standard Two-Day Ticket will likely be around $329 USD for the two days, and VIP will likely be around $399 USD for the two days. VIP ticket will include the new surround-sound virtual tour of Neverland, preferred seating for all events, extra time with the team, etc.
Note that this will be in Dieter Dierks Studio, where "Blood On The Dancefloor" was recorded, among many other major projects. Dieter will likely share some stories from those sessions as well.
I am working on a few more surprises - but I can't give those away just yet.
-----------------------------------------------------------------------
The following week (July 4th and 5th) I will be in Madrid, Spain for a weekend of "In The Studio With MJ" seminars. Brad Buxer and Michael Prince are not scheduled for Spain.
Tickets will go on sale by this weekend - once we finalize a few remaining details. A lot of work has gone into prepping for this, so thank you for your patience! As always, I will do all I can to make it a very memorable, respectful, educational and fun event for all of our guests.
https://www.facebook.com/inthestudiowithmj
Latest from Brad:
_________________________________________________
On Saturday, April 18 we will be in Seattle presenting "In The Studio With MJ" at The Slab - part of the Seattle Drum School. I am really excited about the new Neverland portion for VIP guests, complete with multi-point surround sound. That technique was something we used a lot at Neverland, giving guests an immersive experience into Michael's amazing ranch. I will try to recreate what Neverland sounded like as closely as possible, while giving a "virtual" tour.
VIP will start at 10am sharp, and will include a light lunch. The main seminar will start at 12-noon, and end around 7pm. The seminar will include a new portion on the drum sounds from the Bad album. We are, after all, at a drum school, so I thought it was appropriate. I'm all aware of stuff like that. I might even have a friend Skype in - you never know. Tickets are on sale now at www.inthestudiowithmj.com
----------------------------------------------------------------------------
On May 23 we will be returning to Toronto - one of my favorite cities - to visit my Canadian friends again. The last time I was in Toronto Joe Vogel hung out with my guests for the afternoon, which was a real treat. If Seattle likes the new Neverland segment, I'll likely bring it to Toronto also.
-----------------------------------------------------------------------------
Then comes June. Everyone has been patiently waiting and asking about the June events in Germany. Let me try to get you up to speed. Brad Buxer, Michael Prince and I will be in Germany for four days, for two, back-to-back events.
On June 25th/26th, we will offer a two-day event of "In The Studio With MJ", then "Bradx2 with Michael Prince."
On June 27th/28th, we will do it again, in reverse order: "Bradx2 with Michael Prince", then "In The Studio with MJ".
The Germany seminars are slated for Cologne.Brad Buxer and Michael Prince are confirmed for:
Germany, with the dates as follows:
Session One:
June 25 - In The Studio With MJ
June 26 - Bradx2 (with Brad Buxer and Michael Prince)
Session Two:
June 27 - Bradx2 (with Brad Buxer and Michael Prince)
June 28 - In The Studio With MJ
Please note that Session One and Session Two are essentially the same - each a two-day event with very similar content, allowing guests to choose the Thurs/Fri slot or the Sat/Sun.
Tickets will be sold as a two-day ticket, for either Session One or Session Two. Standard Two-Day Ticket will likely be around $329 USD for the two days, and VIP will likely be around $399 USD for the two days. VIP ticket will include the new surround-sound virtual tour of Neverland, preferred seating for all events, extra time with the team, etc.
Note that this will be in Dieter Dierks Studio, where "Blood On The Dancefloor" was recorded, among many other major projects. Dieter will likely share some stories from those sessions as well.
I am working on a few more surprises - but I can't give those away just yet.
-----------------------------------------------------------------------
The following week (July 4th and 5th) I will be in Madrid, Spain for a weekend of "In The Studio With MJ" seminars. Brad Buxer and Michael Prince are not scheduled for Spain.
Tickets will go on sale by this weekend - once we finalize a few remaining details. A lot of work has gone into prepping for this, so thank you for your patience! As always, I will do all I can to make it a very memorable, respectful, educational and fun event for all of our guests.
https://www.facebook.com/inthestudiowithmj
Last edited:
TinnyandOdd
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Re: Brad Sundberg seminars: Making Music With Michael Jackson
Yay Seattle! I'm in Vancouver, so I can hop a bus down and check this out finally
Yay Seattle! I'm in Vancouver, so I can hop a bus down and check this out finally
myosotis
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Re: Brad Sundberg seminars: Making Music With Michael Jackson
Brad has made changes to the plans for Germany in June:
-------------------------------------------------------------------------
Never let it be said I don't listen.
After making the announcement for ticket sales yesterday, there were many requests for a single-day ticket option, so we have spent quite a bit of time re-designing the Cologne event.
Each day will be different, so guests can preselect which days are of most interest to them, and buy tickets for one, two, three or all four days.
Day One (Thursday, June 25)
"In The Studio Unplugged and Off Script"
A day in the studio with Brad Sundberg, taking you on the new "surround-sound" multi-layered audio and video tour of Neverland. I have been working hard on this one-of-a-kind virtual tour of the ranch that was such a part of my life for so many years. Also, we will have a "Shoes Option" session, where I will dig into my bag of songs and videos that don't usually make it to my normal seminar. Want to hear a song twice? This is a good event to attend. Lastly, we will dig into the HIStory album and Skype in one or two of my friends to share their stories about the incredible album HIStory. Likely there will also be some surprises.
Day Two (Friday, June 26)
"Bradx2" with Michael Prince - "The Early Years"
Brad Buxer and Michael Prince will join us for a full day of stories and music about Brad's early years with Stevie Wonder and Michael Jackson. We will cover the Dangerous album, the Dangerous tour, the HISTory album and the HIStory tour.
Day Three (Saturday, June 27)
"Bradx2" with Michael Prince - "The Later Years"
We will resume our discussion with Brad and Michael, and dig into projects like Blood On The Dance Floor, Invincible, Live At The Apollo, MJ & Friends, plus private concerts. We will discuss recording on the road, and at Neverland. And of course we will talk about This Is It.
Day Four (Sunday, June 28)
"In The Studio With MJ" v2.0
I will present my latest version of the seminar, covering my years with Michael through Captain EO, Bad, Dangerous and HIStory. The complete seminar, with new segments that have been added recently.
All of this will take place at the beautiful Dierks Studios outside of Cologne, Germany - where Michael recorded "Blood On The Dance Floor"!
Start times for each event will be 12:00 noon, with durations of about 7 hours per day.
Tickets will go on sale tomorrow, and you will have the choice of buying for one event, two, three or all four. Pricing will be as follows:
1 Day - $199
2 Days - $299
3 Days - $379
4 Days - $439 VIP
Seating will be limited for all events, and tickets are non-refundable, so choose carefully and plan accordingly. This is a very unique opportunity to meet, listen to and ask questions with three of the guys whose work with Michael span decades - in the studio, at the ranch, and on tour.
Tickets go on sale tomorrow (15th March). Will You Be There?
https://www.facebook.com/inthestudiowithmj?fref=nf
Brad has made changes to the plans for Germany in June:
-------------------------------------------------------------------------
Never let it be said I don't listen.
After making the announcement for ticket sales yesterday, there were many requests for a single-day ticket option, so we have spent quite a bit of time re-designing the Cologne event.
Each day will be different, so guests can preselect which days are of most interest to them, and buy tickets for one, two, three or all four days.
Day One (Thursday, June 25)
"In The Studio Unplugged and Off Script"
A day in the studio with Brad Sundberg, taking you on the new "surround-sound" multi-layered audio and video tour of Neverland. I have been working hard on this one-of-a-kind virtual tour of the ranch that was such a part of my life for so many years. Also, we will have a "Shoes Option" session, where I will dig into my bag of songs and videos that don't usually make it to my normal seminar. Want to hear a song twice? This is a good event to attend. Lastly, we will dig into the HIStory album and Skype in one or two of my friends to share their stories about the incredible album HIStory. Likely there will also be some surprises.
Day Two (Friday, June 26)
"Bradx2" with Michael Prince - "The Early Years"
Brad Buxer and Michael Prince will join us for a full day of stories and music about Brad's early years with Stevie Wonder and Michael Jackson. We will cover the Dangerous album, the Dangerous tour, the HISTory album and the HIStory tour.
Day Three (Saturday, June 27)
"Bradx2" with Michael Prince - "The Later Years"
We will resume our discussion with Brad and Michael, and dig into projects like Blood On The Dance Floor, Invincible, Live At The Apollo, MJ & Friends, plus private concerts. We will discuss recording on the road, and at Neverland. And of course we will talk about This Is It.
Day Four (Sunday, June 28)
"In The Studio With MJ" v2.0
I will present my latest version of the seminar, covering my years with Michael through Captain EO, Bad, Dangerous and HIStory. The complete seminar, with new segments that have been added recently.
All of this will take place at the beautiful Dierks Studios outside of Cologne, Germany - where Michael recorded "Blood On The Dance Floor"!
Start times for each event will be 12:00 noon, with durations of about 7 hours per day.
Tickets will go on sale tomorrow, and you will have the choice of buying for one event, two, three or all four. Pricing will be as follows:
1 Day - $199
2 Days - $299
3 Days - $379
4 Days - $439 VIP
Seating will be limited for all events, and tickets are non-refundable, so choose carefully and plan accordingly. This is a very unique opportunity to meet, listen to and ask questions with three of the guys whose work with Michael span decades - in the studio, at the ranch, and on tour.
Tickets go on sale tomorrow (15th March). Will You Be There?
https://www.facebook.com/inthestudiowithmj?fref=nf
myosotis
Proud Member
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Re: Brad Sundberg seminars: Making Music With Michael Jackson
Seattle looks in doubt...
_____________________________________________________________________________________________
Do you know what all of those knobs do?"
First, a news update.
We are fully on track with sales for the multi-day event in Germany. Thank you to all of the early ticket buyers! You can relax - we are OK with space for now on all days. You will be contacted shortly to start getting your preferred schedule. (If you have no idea what I am talking about, please read the post below, as it will take too long to start from the beginning). For the rest of you, tickets are still on sale and I would highly suggest you claim your seat(s) sooner than later.
I had a good talk with Brad Buxer today, and we are very excited about the program being assembled.
Now I must take a slightly more serious tone just for a moment. Seattle tickets are not coming close to the minimum required to cover costs, and I must make a decision over the next several days. If for some reason you have been holding back on purchasing your ticket to the Seattle seminar in April, I would highly encourage you to do so. If you know of an MJ fan, a music fan, a person looking to spend a very unique day in a studio in the Seattle area, please encourage them to come to my seminar. I am very excited bring my seminar to the Pacific Northwest - I hope we can stay the course.
Not to confuse matters, but Toronto (May) and Spain (July) are in the final steps of planning, and tickets will go on sale for those locations shortly.
A few months ago I wrote a series of articles on microphones, pop-filters, analog vs. digital, etc. I thought I would revisit studio technology tonight, and take my mind off seminar marketing and preparations for a little while. So let's talk about consoles.
As always, take this as opinion - don't take it too seriously. I don't want to engage anyone in a long debate about Neve vs. SSL vs. API, nor do I intend to get too technical. That said, let me try to give you a brief introduction to professional recording consoles.
"What do all those knobs do????" Any sound engineer - from a small church to a giant studio - has heard that question. Why are there so many knobs? Well, let's break it down for you just a bit.
See in the photo how the knobs, switches and faders match the ones on either side? This vertical strips are called "channels". A console size is described by the number of channels: 16, 24, 48, 60, 72, etc. Each channel on a console is exactly the same, although some can sound slightly different due to age, corrosion, etc., but that's for another article.
Now, picture a "typical" rock band: Drums, Guitars, Bass, Keyboards, lead vocal and background vocals. You with me so far? That seems like six sources, so I guess we just need six channels, right? Wrong. The drums are individually mic'd in a studio, so the console might need inputs (channels) for: Kick, snare, high-hat, tom 1, tom 2, tom 3, tom 4, overhead left, overhead right, room left, room right. Suddenly the drums alone need 11 inputs (channels) on the console. Now the engineer says, "I like two mics on the top of the snare, and one under it. Oh, and double-mic the kick - one inside and one out." OK, now we're up to 14 channels on the console.
Keep in mind, each microphone is carefully chosen by the engineer, and placed very specifically - aimed at each drum head, but fully out of the way of the drummer's "mic-destroying" drum sticks. It's a very delicate balance.
Time for the guitars. Let's put two different mics on the amp up close, two in the room far away, and grab a direct feed from his guitar for a clean signal to mix in later. Hmmm.... suddenly one guitar is taking up five channels on the console. And this continues on and on, until the band is fully mic'd, and the now we can start recording, right? Well, not yet. Now we need to get "sounds".
For the scope of an article, I don't have time to go into much detail on each knob of a console, but the quick version is something like this. (We will use the snare mic as an example).
The drummer sits at his drum kit and the engineer says into his talkback mic (we always have a microphone in the control room to communicate with the band, who are listening on headphones), "Go ahead and hit your snare." The drummer will start hitting his snare drum, as he has done many times before in sessions, usually about one second apart. This gives the engineer time to focus on the snare sound. First, the engineer will set the microphone pre-amp (usually at the top of the channel strip) to a clear, loud level, without distorting the sound. Then he (or she) will engage the EQ on the snare channel, and start tuning in various frequencies (think bass and treble on your home stereo, but way more surgical). He might want to increase the "crack" of the snare sound, or add warmth to the sound if he wants less of an aggressive snare sound. He might also insert a compressor or limiter into the channel, which keeps the sound of the recorded snare at a more consistent level.
Then, he will need to send the snare to the appropriate "track" for recording. (This is called bussing). Then, he needs to send the snare sound back to the drummer's headphones, so the drummer can hear the snare. All the while the poor drummer is still whacking on his snare drum. Tired yet? Oh, we have a lot more channels to set up. Next the kick, then the hat, then the toms, one by one by one.
As the engineer is getting sounds for each individual instrument, the console is starting to fill up - generally left to right - except in Australia where they do everything backwards.
This process is done for every tracking (recording) session. Now, if an engineer works in the same room with the same mics and the same drummer and the same drums, it will tend to go much faster over time, but it's not quite that easy. Humidity, too much coffee, not enough coffee, power surges, older electronics, etc., can make the sounds slightly different day to day, so you must always trust your ears over your eyes in a studio.
I have seen some engineers get drum sounds in 15 minutes, while others might take 4-5 hours. Bruce Swedien and I had worked together so many times with some of the best drummers on the planet, we could usually have them fully mic'd and have sounds ready in about 45 minutes, give or take a few.
Whew... lots of work, right? So that brings us to variations in consoles. Long before the drummer was booked - long before the session was booked - the producer and engineer talked and chose a studio. They chose that studio based on budget, good restaurants nearby, microphone selection, past experience, and the console. "Back in the day" (I hate that phrase), we were limited to analog consoles. Now there are analog and digital, but for this discussion we'll stay with analog (generally preferred for recording when the budget allows).
Painting with a VERY broad brush, the big boys in analog consoles are/were: Neve, SSL, API, Trident and Harrison. (There are many others, but those are the more well-known). Neve is sort of the grande-old-man of the industry, with warm, beautiful sounding boards dating back to 1961. Neve and Trident came from England, while API and Harrison were American made. The Trident "sound" was also warm and "British", what API and Harrison had their own unique sound. ("Thriller" and "Bad" were recorded and mixed on Harrisons).
That brings us to SSL. Founded in 1969 in the UK, SSL brought a different sound to the industry. It could be said that SSL is tailored a bit more for broadcasting, however countless studios are built around amazing SSL consoles. I can almost hear when a record was recorded and mixed on SSL, for example Duran Duran"s "Skin Trade", which is amazing, yet hard, edgy and heavily compressed in it's sound. That, to me, is the SSL sound. Most of HIStory was also recorded and mixed on SSL. Listen to the intentional difference in the soundscape of "Lady In My Life" and "Money". Both great sounding songs, but they sound very different. Cool, right?
So the next time you see someone mixing at a church or a concert or festival, instead of asking, "Do you know what all those knobs do?", maybe throw them a compliment ("nice mix, the vocals were spot on"), then ask about the compression ratio they use for their lead vocal sound. I can assure you they will be far more interested in talking with you.
Have a great week, and if you know someone in Seattle, give them a nudge.
Keep The Faith!
Brad
http://inthestudiowithmj.com/events
Yay Seattle! I'm in Vancouver, so I can hop a bus down and check this out finally
Seattle looks in doubt...
_____________________________________________________________________________________________
Do you know what all of those knobs do?"
First, a news update.
We are fully on track with sales for the multi-day event in Germany. Thank you to all of the early ticket buyers! You can relax - we are OK with space for now on all days. You will be contacted shortly to start getting your preferred schedule. (If you have no idea what I am talking about, please read the post below, as it will take too long to start from the beginning). For the rest of you, tickets are still on sale and I would highly suggest you claim your seat(s) sooner than later.
I had a good talk with Brad Buxer today, and we are very excited about the program being assembled.
Now I must take a slightly more serious tone just for a moment. Seattle tickets are not coming close to the minimum required to cover costs, and I must make a decision over the next several days. If for some reason you have been holding back on purchasing your ticket to the Seattle seminar in April, I would highly encourage you to do so. If you know of an MJ fan, a music fan, a person looking to spend a very unique day in a studio in the Seattle area, please encourage them to come to my seminar. I am very excited bring my seminar to the Pacific Northwest - I hope we can stay the course.
Not to confuse matters, but Toronto (May) and Spain (July) are in the final steps of planning, and tickets will go on sale for those locations shortly.
A few months ago I wrote a series of articles on microphones, pop-filters, analog vs. digital, etc. I thought I would revisit studio technology tonight, and take my mind off seminar marketing and preparations for a little while. So let's talk about consoles.
As always, take this as opinion - don't take it too seriously. I don't want to engage anyone in a long debate about Neve vs. SSL vs. API, nor do I intend to get too technical. That said, let me try to give you a brief introduction to professional recording consoles.
"What do all those knobs do????" Any sound engineer - from a small church to a giant studio - has heard that question. Why are there so many knobs? Well, let's break it down for you just a bit.
See in the photo how the knobs, switches and faders match the ones on either side? This vertical strips are called "channels". A console size is described by the number of channels: 16, 24, 48, 60, 72, etc. Each channel on a console is exactly the same, although some can sound slightly different due to age, corrosion, etc., but that's for another article.
Now, picture a "typical" rock band: Drums, Guitars, Bass, Keyboards, lead vocal and background vocals. You with me so far? That seems like six sources, so I guess we just need six channels, right? Wrong. The drums are individually mic'd in a studio, so the console might need inputs (channels) for: Kick, snare, high-hat, tom 1, tom 2, tom 3, tom 4, overhead left, overhead right, room left, room right. Suddenly the drums alone need 11 inputs (channels) on the console. Now the engineer says, "I like two mics on the top of the snare, and one under it. Oh, and double-mic the kick - one inside and one out." OK, now we're up to 14 channels on the console.
Keep in mind, each microphone is carefully chosen by the engineer, and placed very specifically - aimed at each drum head, but fully out of the way of the drummer's "mic-destroying" drum sticks. It's a very delicate balance.
Time for the guitars. Let's put two different mics on the amp up close, two in the room far away, and grab a direct feed from his guitar for a clean signal to mix in later. Hmmm.... suddenly one guitar is taking up five channels on the console. And this continues on and on, until the band is fully mic'd, and the now we can start recording, right? Well, not yet. Now we need to get "sounds".
For the scope of an article, I don't have time to go into much detail on each knob of a console, but the quick version is something like this. (We will use the snare mic as an example).
The drummer sits at his drum kit and the engineer says into his talkback mic (we always have a microphone in the control room to communicate with the band, who are listening on headphones), "Go ahead and hit your snare." The drummer will start hitting his snare drum, as he has done many times before in sessions, usually about one second apart. This gives the engineer time to focus on the snare sound. First, the engineer will set the microphone pre-amp (usually at the top of the channel strip) to a clear, loud level, without distorting the sound. Then he (or she) will engage the EQ on the snare channel, and start tuning in various frequencies (think bass and treble on your home stereo, but way more surgical). He might want to increase the "crack" of the snare sound, or add warmth to the sound if he wants less of an aggressive snare sound. He might also insert a compressor or limiter into the channel, which keeps the sound of the recorded snare at a more consistent level.
Then, he will need to send the snare to the appropriate "track" for recording. (This is called bussing). Then, he needs to send the snare sound back to the drummer's headphones, so the drummer can hear the snare. All the while the poor drummer is still whacking on his snare drum. Tired yet? Oh, we have a lot more channels to set up. Next the kick, then the hat, then the toms, one by one by one.
As the engineer is getting sounds for each individual instrument, the console is starting to fill up - generally left to right - except in Australia where they do everything backwards.
This process is done for every tracking (recording) session. Now, if an engineer works in the same room with the same mics and the same drummer and the same drums, it will tend to go much faster over time, but it's not quite that easy. Humidity, too much coffee, not enough coffee, power surges, older electronics, etc., can make the sounds slightly different day to day, so you must always trust your ears over your eyes in a studio.
I have seen some engineers get drum sounds in 15 minutes, while others might take 4-5 hours. Bruce Swedien and I had worked together so many times with some of the best drummers on the planet, we could usually have them fully mic'd and have sounds ready in about 45 minutes, give or take a few.
Whew... lots of work, right? So that brings us to variations in consoles. Long before the drummer was booked - long before the session was booked - the producer and engineer talked and chose a studio. They chose that studio based on budget, good restaurants nearby, microphone selection, past experience, and the console. "Back in the day" (I hate that phrase), we were limited to analog consoles. Now there are analog and digital, but for this discussion we'll stay with analog (generally preferred for recording when the budget allows).
Painting with a VERY broad brush, the big boys in analog consoles are/were: Neve, SSL, API, Trident and Harrison. (There are many others, but those are the more well-known). Neve is sort of the grande-old-man of the industry, with warm, beautiful sounding boards dating back to 1961. Neve and Trident came from England, while API and Harrison were American made. The Trident "sound" was also warm and "British", what API and Harrison had their own unique sound. ("Thriller" and "Bad" were recorded and mixed on Harrisons).
That brings us to SSL. Founded in 1969 in the UK, SSL brought a different sound to the industry. It could be said that SSL is tailored a bit more for broadcasting, however countless studios are built around amazing SSL consoles. I can almost hear when a record was recorded and mixed on SSL, for example Duran Duran"s "Skin Trade", which is amazing, yet hard, edgy and heavily compressed in it's sound. That, to me, is the SSL sound. Most of HIStory was also recorded and mixed on SSL. Listen to the intentional difference in the soundscape of "Lady In My Life" and "Money". Both great sounding songs, but they sound very different. Cool, right?
So the next time you see someone mixing at a church or a concert or festival, instead of asking, "Do you know what all those knobs do?", maybe throw them a compliment ("nice mix, the vocals were spot on"), then ask about the compression ratio they use for their lead vocal sound. I can assure you they will be far more interested in talking with you.
Have a great week, and if you know someone in Seattle, give them a nudge.
Keep The Faith!
Brad
http://inthestudiowithmj.com/events
barbee0715
Proud Member
Re: Brad Sundberg seminars: Making Music With Michael Jackson
^^I wish he would write a book!!! He makes it so easy to understand. I had no idea of how any of this worked.
^^I wish he would write a book!!! He makes it so easy to understand. I had no idea of how any of this worked.
TinnyandOdd
Proud Member
- Joined
- Apr 10, 2009
- Messages
- 948
- Points
- 28
Re: Brad Sundberg seminars: Making Music With Michael Jackson
To be fair, for those of us making minimum wage ($10.20/hour CDN), it's almost impossible to come up with $185 or $245 (VIP) USD for one ticket, plus whatever other costs (bus fare, accommodation, food, etc.), let alone in such a short amount of time. I understand why his seminars are as expensive as they are, however I wish he would take into consideration that the Working Man like myself and others just don't have that kind of cash. I mean, my London This It It MJ concert ticket was cheaper than his seminar ....
To be fair, for those of us making minimum wage ($10.20/hour CDN), it's almost impossible to come up with $185 or $245 (VIP) USD for one ticket, plus whatever other costs (bus fare, accommodation, food, etc.), let alone in such a short amount of time. I understand why his seminars are as expensive as they are, however I wish he would take into consideration that the Working Man like myself and others just don't have that kind of cash. I mean, my London This It It MJ concert ticket was cheaper than his seminar ....
myosotis
Proud Member
- Joined
- Aug 27, 2009
- Messages
- 4,224
- Points
- 48
Re: Brad Sundberg seminars: Making Music With Michael Jackson
If I understood correctly, Brad mentioned in London that he had started writing one, then the seminars took over. I hope that he will complete it one day in the not-too-distant future....
If I understood correctly, Brad mentioned in London that he had started writing one, then the seminars took over. I hope that he will complete it one day in the not-too-distant future....
myosotis
Proud Member
- Joined
- Aug 27, 2009
- Messages
- 4,224
- Points
- 48
Re: Brad Sundberg seminars: Making Music With Michael Jackson
Latest for Seattle:
--------------------------------------------------------
What was it like to work with Michael Jackson in the studio?
What sort of preparations went into his tours?
What was it like to help turn Michael's dream of Neverland Valley Ranch into a reality?
"In The Studio With MJ" is coming to Seattle for one day only - Saturday, April 18, 2015. Learn all about Michael, his working style, his attention to detail, his humor and his love of music at a very special, one-day seminar coming to the Emerald City next month.
Brad Sundberg was his Technical Director, one of his engineers and one of his trusted friends for nearly 18 years. Captain EO. Bad. Moonwalker. The Bad Tour. Dangerous. HIStory. The HIStory Tour. Albums. Singles. Dance Mixes. Short Films. Neverland. The Park. The Zoo. Brad has produced an event filled with music, stories, home videos and photos like nothing else. His goal is simple: To try to introduce people to the Michael that he knew from the studio.
"Brad's seminars offer a fascinating, eye (and ear)-opening experience, in which genuine insights about Michael Jackson as an artist, a person and a friend, are revealed. I thoroughly enjoyed the warm, conversational approach and the deep well of materials. There were several goosebump moments. Brad puts you right there, inside the studio in those eras, and shows how the magic was made. I couldn't recommend it more to both fans of Jackson and anyone who cares about music."
-Joseph Vogel, Author of Man in the Music: The Creative Life and Work of Michael Jackson
You'll hear music and behind-the-scenes stories. You'll see video and photographs. You'll learn how Michael interacted with his team and how they combined focus and discipline with creativity, fun, and food.
Tickets are on sale now, but registration closes next week - so don't delay.
See, hear, learn and feel what it is was like to work with one of the most talented entertainers of the past century.
In The Studio With MJ
Saturday, April 18, 2015
12:00pm 7:00pm
The Slab at Seattle Drum School
http://inthestudiowithmj.com/events/
Will You Be There?
Latest for Seattle:
--------------------------------------------------------
What was it like to work with Michael Jackson in the studio?
What sort of preparations went into his tours?
What was it like to help turn Michael's dream of Neverland Valley Ranch into a reality?
"In The Studio With MJ" is coming to Seattle for one day only - Saturday, April 18, 2015. Learn all about Michael, his working style, his attention to detail, his humor and his love of music at a very special, one-day seminar coming to the Emerald City next month.
Brad Sundberg was his Technical Director, one of his engineers and one of his trusted friends for nearly 18 years. Captain EO. Bad. Moonwalker. The Bad Tour. Dangerous. HIStory. The HIStory Tour. Albums. Singles. Dance Mixes. Short Films. Neverland. The Park. The Zoo. Brad has produced an event filled with music, stories, home videos and photos like nothing else. His goal is simple: To try to introduce people to the Michael that he knew from the studio.
"Brad's seminars offer a fascinating, eye (and ear)-opening experience, in which genuine insights about Michael Jackson as an artist, a person and a friend, are revealed. I thoroughly enjoyed the warm, conversational approach and the deep well of materials. There were several goosebump moments. Brad puts you right there, inside the studio in those eras, and shows how the magic was made. I couldn't recommend it more to both fans of Jackson and anyone who cares about music."
-Joseph Vogel, Author of Man in the Music: The Creative Life and Work of Michael Jackson
You'll hear music and behind-the-scenes stories. You'll see video and photographs. You'll learn how Michael interacted with his team and how they combined focus and discipline with creativity, fun, and food.
Tickets are on sale now, but registration closes next week - so don't delay.
See, hear, learn and feel what it is was like to work with one of the most talented entertainers of the past century.
In The Studio With MJ
Saturday, April 18, 2015
12:00pm 7:00pm
The Slab at Seattle Drum School
http://inthestudiowithmj.com/events/
Will You Be There?