Back To Acoustics

Ireland Goes Acoustic!

These are interesting and challenging days for Irish artists. As the Hot Press-IMRO Seminar (in association with 96FM) heads for The Triskel Arts Centre in Cork on 14th September, new and established acts alike are faced with a musical environment changing at a pace not seen here for years.

On the one hand, there is the speed at which the dance explosion is invading venues previously assumed to be the exclusive preserve of rock music. On the other, there is the continued good health of the traditional scene which has tempted many electrically-inclined bands to explore the acoustic or unplugged format.

So the launch of the Bacardi Unplugged competition in association with Hot Press is rather timely. Even the more usually rock-based outfits such as Something Happens, Aslan, The Afternoons and An Emotional Fish have all enjoyed forays into acoustic territory and given their fans fresh insights into already well-known songs.

On the international front, acts as esteemed as REM, Bruce Springsteen, Neil Young, 10,000 Maniacs and Pearl Jam have recorded shows for the MTV Unplugged series. There is the eagerly-awaited and imminent release of the Nirvana MTV Unplugged album, a sure best-seller if there ever was such a thing. Top international acts such as Rod Stewart, Eric Clapton and Arrested Development have all enjoyed massive sales with similar albums.

Currently riding high in the charts is the Stoned And Dethroned album by The Jesus And Mary Chain which actually began life as an acoustic album, an extraordinary move for a band who built a career on distortion and feedback, while Bjork – one of the stars of the final Féile – is lined up for her own MTV Unplugged show.

The Baggot Inn, once the Mecca for Irish rock fans, has already introduced a regular weekly unplugged night. Many of the excellent string of artists booked by Dave Allen or Derek Nally for gigs in Whelan’s are either acoustic acts or musicians whose artistry is such that they adapt to any set-up where real musicianship comes into its own.

The explanation for this outbreak in Ireland could be simply that it is merely a natural outgrowth of our traditional fondness for acoustic instrumentation, as evidenced by our love of impromptu sessions, and the expanding audience for folk music and world music. Indeed, fans of acoustic music in Ireland will learn much from P.J. Curtis’ superb book Notes From The Heart, a comprehensive survey of Irish traditional music from the turn of the century right up to the present day.

That some of the hippest bands in the world have embraced the acoustic format is another obvious source of inspiration and a valuable spur towards experimentation and musical open-mindedness. So the Bacardi Unplugged competition throws down a challenge for those bands who might generally travel the electric route in that it asks them to rethink their musical approach, if only in the short term.

That itself makes the project worthwhile since it may encourage bands to discover strengths and weaknesses hitherto disguised under their normal working format.

Are We Rolling, Colm?

Although it is not essential for bands to submit acoustic demos for the Bacardi Unplugged competition, those considering recording an unplugged demo especially for the project, or for any other reason, should take note of the advice offered by Colm Sexton, who runs the Sound Training Centre based at Sun Studios, and who in addressing the general topic of demo recording will be one of the key speakers at The Hot Press-IMRO Cork Seminar. While the foregoing advice is aimed at those recording acoustically, much of what he has to say can also be applied by those plugging into the electricity grid as well.

BEFORE the Studio session

1. Pick your songs carefully. Remember, some of your songs may sound totally different with drums, synthesisers etc. stripped out of the arrangement.

2. Be prepared to change the song structure and arrangement to suit the instruments you are using. A scorching electric guitar solo may not sound quite the same on mandolin. You could equally find that the same solo sounds great on accordion. Don’t be shy about experimenting!

3. Rehearse, rehearse, rehearse with all the musicians who will be involved in the recording. Pay particular attention to starts and stops. Sometimes a “fade” at the end of an acoustic performance can sound totally untogether or even out of place on a recording, so practice a definite start and finish for each song.

4. Make a rough recording of your rehearsals using a cassette recorder. Work out all backing vocals, overdubs, solos at this stage by playing or singing along with the tape. You will also be able to spot timing, tuning and intonation problems at that early stage.

5. Decide carefully on a studio. Generally speaking, the higher the price, the better the quality of recording equipment at the studio. Remember, you are making a demo - not a master. Anything over £25 per hour including engineer is probably a bit more than you need for demos. Tape charges can often be hefty, so find out what they are first.

6. The studio will probably recommend an engineer. You should invite him/her to your rehearsal. If the engineer can’t come, passing on a copy of your rehearsal tape would be a good second best. The engineer may have some useful comments which will save you time in the studio. It also helps to get to know the engineer before the day of the session and you will be more relaxed.

7. Get your hands on the best possible instruments to use for the recording. Check the intonation and watch out for buzzes and squeaks. “The biggest problem I have when recording acoustic music is not bad musicians, it’s bad instruments,” claims Tim Boland - Producer/Engineer.

8. Don’t assume that the studio will supply instruments, equipment etc. Always check if you are not sure.

The Studio Session

1. Arrive on time. If you book from 10 am you can expect to be charged from 10 am even if you don’t arrive till 11 am.

2. Bring spare strings, reeds, good quality tuner etc.

3. If you bring a packed lunch, it might save you some time. However, remember that the engineer has to have a break too.

4. Leave friends, hangers-on, dogs, cats etc. at home – unless you feel that they can contribute to the recording. Otherwise they are a distraction.

5. If you are well-rehearsed you should try to get as much down ‘live’ (in one go) as possible. Tell the engineer this. By doing so you will capture the feel, dynamics and atmosphere better than if you recorded each instrument separately. You will also save loads of time.

6. Make a decent attempt at the vocal at this stage. Sometimes the first vocal you do will be the best and the engineer can use it later on.

7. The next stage is probably overdubs and vocals. This is where you can waste a lot of time if you haven’t done your homework.

8. If at any stage you don’t like what you hear, tell the engineer. It might not be possible to “fix it in the mix” later on. If something is out of time or badly out of time you have only two simple choices: Don’t use it or re-record it.

9. If you run into any problems, ask the engineer for advice. Engineers often moonlight as psychiatrists.

10. Allow at least 25% of your time for mixing. Leave the engineer alone to get a workable mix. Then appoint one person to act as spokesperson to convey your suggestions. If everyone is tired, it may be better to postpone mixing for another time.

11. When mixing, beware of flashing lights and fancy noises (called “effects”). It may sound wacky and interesting but does it contribute to your overall sound? Acoustic music in particular can suffer from overuse of effects.

12. Make sure you mix down onto DAT or other high quality format – even if it’s only a rough mix. Do NOT mix down onto cassette.

13. Alcohol and other mind-altering substances are guaranteed NOT to improve the quality of your demo.

My Favourite Demo Tips:

1. Before the session, casually tell the engineer that the recording will probably end up being released as a single. It’s a bit mean, but you’re guaranteed 100% effort.

2. If you are using a session musician, pay a professional. Amateurs don’t play as well, waste time and cost more in the long run.

3. Don’t waste studio time running off cassettes for the band. Get one good copy from the studio and do a tape-to-tape on a twin tape deck for the rest of the band. Needless to say, any cassettes you send to record companies should be run from the master or properly duplicated.

MEGATIP:

If you are low on money and know a bit about recording, hire a portable DAT machine, microphones and headphones and record your music in a room with a nice sound. (You won’t be able to do overdubs, of course.) Pick the best and transfer them onto cassette. Hey presto - instant cheapo demo!

Instrumental Break

It is probably reasonable to assume that most people today learn to play music on an acoustic instrument such as the guitar or piano. Even the increasing availability of cheap, portable, electronic instruments on the market has done little to alter that situation.

However, irrespective of the instrument you choose, on which to begin your musical adventures, it is absolutely crucial that you do so on a model that will give you a decent sound and will facilitate the beginner.

One of the premier names to look out for is Yamaha, who although perhaps better known for their market-leading synthesisers and keyboards, have also applied their undoubted expertise to an excellent range of acoustic guitars.

The fact that Yamaha have such a well-established and reliable back-up service throughout Ireland points up another factor one must consider when buying an instrument, acoustic or otherwise. Your initial choice might look groovy and the price might be cool, but if the heads keep slipping and the neck is warped, it’s not much use, is it? No. Better to pick up a reliable model from a recognisable brand name with a decent back-up service.

Many budding musicians have been turned off for life by making the wrong choice, either through ignorance, lack of cash or bad advice.

So the best way to circumvent that dilemma is to go to a reputable shop where you can not only benefit from the staff’s enthusiasm and experience, but where there is a policy of treating new customers as potential life-time clients, rather than fodder for a quick sale.

One such outlet is J. McNeill’s at 140 Capel Street in Dublin. McNeill’s have been in the business for over 150 years, and you don’t survive in this business for that length of time without doing right by your customers. Indeed its past list of customers include such eminent people as George Bernard Shaw, who used to buy his clarinet reeds there, and the Irish poet Austin Clark, who would rarely let a week pass without popping into McNeill’s for some violin strings.

They also have a fine reputation as stockists of hand-crafted acoustic instruments including guitars, banjos, mandocellos and uillean pipes, and if you need any advice talk to Neil O’Callanain.

Another excellent shop is Perfect Pitch in Exchequer Street who specialise in acoustic guitars. Under the knowledgeable managership of Gerry Crowe, their range includes all the best brand-names, including Guild, Yamaha, Tanglewood, Loudon and Epiphone. The shop had a nasty experience recently when vandals set fire to it, but it is now fully operational again and offering the same helpful, musician-friendly service for which it had become noted.

Meanwhile our space exploration correspondent at Keynote Music Sales tells us that a Martin Backpacker guitar recently accompanied one of the astronauts on board the American space shuttle. Interested earthlings can check the brand out by orbiting close to Musician Inc. in Drury Street.

Ricky Skaggs is only one of a whole catalogue of world-renowned guitarists who have endorsed the Martin name, which has established itself as one of the hottest properties in the instrument business since its foundation in 1833, and the Martin Dreadnought guitar, introduced in 1916, has become the most copied guitar in the world.

The Martin reputation is built on its remarkable sound quality and unique craftsmanship, which have enhanced many an unplugged session in Ireland and elsewhere over the years.

Equally, anyone planning to learn the basics of any acoustic instrument should consider taking lessons from a pro. The Yamaha Schools, with their nationwide network, is well worth investigating and there’s probably one near you!

New Record Label In Clare

Kerbstone Records has been set up by Clare County Council Arts in association with the Clare Leader and Harmony Row Studios. The label will aim to provide the highest possible standards of production and design to recording musicians and to establish Clare as a centre for technical excellence in the music industry.

Clare has produced some of Ireland’s best loved musicians over the years, including Maura O’Connell, Stockton’s Wing and Sharon Shannon, yet the technical side of the industry has not matched that growth, and Kerbstone intends to rectify that omission.

The original initiative for Kerbstone came from Clare County Arts Officer, Eugene Crimmins, and Director of Harmony Row Studios, Matt Purcell. Noted record producer, author and musicologist P.J. Curtis and Keith Donald from Musicbase are the Executive Consultant Directors and act as the labels A & R.

Kerbstone were suitably flattered when Riverdance composer Bill Whelan accepted their invitation to launch the label. Clare FM, one of the Irish Radio stations most noted for their constant support of Irish music, approached Kerbstone to broadcast live from the launch venue.

Kerbstone’s first recorded offering is a flute album by Kevin Crawford which will be launched by the well-known Martin Hayes, traditional fiddle supremo and son of the famous P.J. Hayes. According to P.J. Curtis, “Kevin’s album will do very well. There was a need for someone to produce a pure traditional flute album ever since Matt Molloy’s success and Kevin is the man for the job.”

“We take great pride in being able to say that Kevin’s album, from the first note to last was produced, engineered, designed, printed and managed all from County Clare,” Eugene Crimmins, Kerbstone director and Clare County Arts Officer told Hot Press. We have challenged the notion that to produce top quality products, you have to go to Dublin and I feel we have risen to that challenge with flying colours”.

The aims of Kerbstone Records are

• To increase and improve the number and standard of professional recordings by Clare-based musicians of all musical styles.

-• To establish Clare as a centre for creative and technical excellence in Ireland’s Music industry.

• To provide the necessary back up to enhance the potential for job creation in Clare’s music industry, including both creative and technical.

• To co-ordinate the release of music from Clare through the label.

• To provide the highest standards of product and design to recording musicians.

• To increase the profile of County Clare and it’s music culture.

• To provide financial assistance and professional advice to recording musicians.

Meanwhile back in Dublin, Starc Studios continue to go from strength to strength. According to Jonathan McEvoy, Starc from their base in Dartmouth Square in Ranelagh, have produced countless acoustic-based albums, some of which have attracted the interest of international companies. The studio prides itself on creating an environment conducive to musical creativity.

The recording facility is based on a 2-inch Otari multi-track and anyone interested in checking out the quality of the sound the studio can deliver need look no further than the Hada To Hada album My German Lover or Deiseal’s The Long Long Note. Equally a close examination of the rather splendid debut single from Speranza, called ‘Before I’m Thirty’, will convince even the most cynical pair of ears. Hearing, as they say, is believing.