WWBMF – FInal Mix Submitted To Abbey Road For Mastering

WWBMF - Mix Submitted To Abbey Road Studio For Mastering

UPDATE: Feb 19th, 2022 -
It's been a very interesting last couple of days. "Who Will Break My Fall" was submitted to Abbey Road Studio for mastering.
I'm very excited in anticipation of getting the final master!
One thing I haven't mentioned so far is the ISRC (International Sound Recording Code).  When I placed my order  for mastering with Abbey Road, I was asked to provide an ISRC code for the metadata part of the finished master recording. 

As a Recording Rights Owner, I set up an account with usisrc.org.
For a one-time fee of $95 I was provided with a Registrant Code that allows me to assign ISRCs for all recordings that I own or control. Recording Rights Owners are typically labels or bands, but can be individual artists as well. 

The ISRC Registrant Code is mine for life and will allow me to assign up to 100,000 ISRCs each year to recordings that I own. Obviously, I am not that prolific at songwriting, but I expect to be recording  more new original songs very soon!   How To Generate An ISRC For A Recording

I might mention at this point as I have done a fair amount of research by now, I discovered another new code, ISWC,  that is also added to a sound recording.
What's The Difference Between ISRC and ISWC?

That's all for today....I'll keep you posted.

NEXT UP: Metadata Requirements For Sound Recordings

Who Will Break My Fall (WWBMF)

This will be the first of many posts about my experience with a learn-as-you-go songwriting project.  The project started about thirty-three years ago when I teamed up with a songwriting partner, Kelly Padrick. Over a period of about three years we collaborated on a whole bunch of original songs. Some of them are pretty good, and others are, meh!
Over the last couple of decades I have taken some of those and a few of my own and touched up the lyrics and music where I felt they could be better crafted. One of those songs titled "Who Will Break My Fall", is the project that I started about a month ago in my home studio, and it's the subject of this and the following series of posts where I will be describing the entire process of taking a musical work from start to finish.

My starting point was to record the finished song in my home studio and then bring those tracks into a professional recording studio for the do-overs. Once the recording process was completed, a final mixdown was rendered for mastering.

Home Studio
This is the home studio used for songwriting, arranging, and preproduction.

I will be writing in depth about my experience with copyright, adding metadata and ISRC codes, synchronization licensing, non-fungible tokens (NFTs), streaming and publishing, as they occur. Not to worry, I'm very inexperienced with all these things since my main gig for the last thirty years has been primarily as a performing and work-for-hire artist only. My intention is to learn how to properly monetize a song so that I may be rewarded for the time, work and money that I have invested into this project. Also, I want to share my learning experience with anyone who may benefit from it. I very much appreciate questions and comments, especially from experienced creators, team members and supporters who are willing to offer some advice, criticism and help.

UPDATE: Tuesday, February 15, 2022
Today, the final mixdown of WWBMF was rendered by Mr. Emerson Torrey at Satellite Recording Studio in 24-bit, 48KHz WAV format for mastering. The recording studio and I both have a copy, and I will save another backup copy to a USB drive. The next two things that I need to do are the registration of copyright at the Library Of Congress, and finding a mastering facility for my song and the audio engineer who will master the recording. I will post more about my experience as I go through the process.

For now, I want to back up a little and briefly explain  about the process leading up to today. Even before I started to record the music in my home studio, I took some time to edit and finalize the lyrics for WWBMF and decide on the key signature and tempo for the song. It's really a pain in the ass when you get too far into a recording project and realize that the vocals suck because you didn't take the time to find the right key for your vocal range.
The next step was writing out the song arrangement so I would know exactly how many measures were needed for the next step, that is, programming the drum application. EZDrummer is the program that I use to write drum parts for each verse, chorus, bridge and what have you. With the drum track finally programmed, I exported it as a 24-bit, 44.1KHz WAV file to be imported into the recording program. It really wasn't necessary to expend a great deal of time and effort on the drum track since my preference was to add a drummer at a later date.
I'm use Nuendo as my recording software along with PreSonus  FireStudio 8-in, 8 out Digital to Analog Converter (DAC).
A new project was opened in Nuendo with the tempo set to 120bpm to match the tempo in the programmed drum track. The EZDrummer WAV file was then imported as a new audio track in Nuendo.  I recorded four tracks of myself playing the piano, the acoustic guitar, the electric guitar and singing the vocal parts.

UPDATE: Thursday, February 17th, 2022
WWBMF was successfully registered for copyright protection through the Library of Congress for a fee of $65. It's a good idea to apply for a copyright to prove ownership of your intellectual property should there be unauthorized use.

Next step; prepare for mastering.

Remembering the Newport Folk and Jazz Festivals

Sad news this year in September 2021 on the passing of George Wein, the Newport Jazz and Folk Festival promoter. It brought back a memory from a time in 1968 when I met him while played a gig with my band, Albi and The Spellbinders at Leo’s, a local music venue that was located in Newport’s harbor district. He came to listen to Judy Kay, a young and upcoming singer who sang with us with whom he was acquainted back in New York City. George invited me to the backstage area at the festival field where I met Junior Wells and Buddy Guy. I was just about 17 years old at the time and I was playing harmonica. Naturally, I was drawn to Junior Wells who was my favorite harp player. He took me under his wing and gave me some tips and tricks on the harmonica. He told me they would be going to a party after the show and invited me to go with them. Later that night as promised a limo showed up and we all piled in for the ride up on Ocean Avenue where we ended up in one of the mansion houses there. A lot of the performers who played the festival that day were there. I was hanging with Janis Joplin and her guitarist. Taj Mahal was there too! It wasn’t long before Junior jumped up on top of a dinner table, sang and played harmonica for us. What a night! All thanks to George Wein, rest in peace.

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