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Jimmy Jam & Donnie Simpson

Jimmy Jam (L) & Donnie Simpson (R)

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Donnie Simpson Talks To Jimmy Jam About His Career donnie-simpson-jimmy-jam-up-close-and-personal

Donnie Simpson Talks To Jimmy Jam & Reveals How He Found His Radio Voice & Broke Onto The Airwaves | Up Close & Personal

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The legendary radio DJ Donnie Simpson and songwriter-producer Jimmy Jam survey their long friendship and chop it up about the entertainment business hustle
Morgan Enos
Membership
Feb 10, 2021 - 6:58 am

Last October, the radio giant Donnie Simpson was inducted into the Radio Hall of Fame alongside The Breakfast Club, Sway Calloway and the late Cokie Roberts. Naturally, he’s in the mood to survey his half-century-long career and assess the road ahead.

In the Recording Academy's latest edition of Up Close & Personal, Simpson links up with his old friend Jimmy Jam—who’s made waves since the '80s as a songwriter and producer alongside fellow GRAMMY-winning icon Terry Lewis—to discuss their meeting story and the arc of his remarkable career.

Therein, Simpson describes how puberty delivered his signature announcer’s timbre, how he got his foot in the door as a DJ and how success found him at just 15. He also looks back at his fertile TV career—in particular, his legacy with BET, for whom he hosted the primetime music video show "Video Soul."

"I don’t care how much money you make or how much you pay me. Nothing could ever surpass what we created—the history of BET," Simpson declares. "I don’t care what Bob [Johnson, BET’s founder] paid me. To know that we created this country’s first Black television network and grew that thing into what it became—there’s no price on it."

Check out the entire 80-minute video above and marinate in the history of a true American radio and TV original.

Radio And TV Legend Donnie Simpson On The Key To His Decades-Long Career: "I Don't Have To Be Great––I Just Have To Be Me"

Donnie Simpson

Donnie Simpson

Photo: Aaron Davidson/Getty Images

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Radio And TV Legend Donnie Simpson On The Key To His Decades-Long Career: "I Don't Have To Be Great––I Just Have To Be Me"

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In honor of his recent induction into the Radio Hall Of Fame, GRAMMY.com highlights the broadcasting icon's celebrated career, his impact on media and culture, and his ongoing advocacy for Black representation in radio and TV
Eliza Berkon
GRAMMYs
Jan 6, 2021 - 3:43 pm

About five years ago, Washington, D.C., DJ Donnie Simpson emerged from retirement after a little coaxing from his wife, Pam.

"She framed it really [nicely]. She said, 'Donnie, everywhere you go, all you hear is how much people love you and they wish you'd do something else. And God has given you a gift that you should be sharing with people,'" Simpson tells GRAMMY.com over a Zoom interview. "That's what she said, but what I heard was, 'Get out.'"

The affable radio and television icon ultimately returned to the airwaves in 2015. Five years later, he received one of the highest accolades in the radio industry: Last October, he was inducted into the Radio Hall Of Fame, an honor recognizing his contributions to the radio medium over the last half-century. 

The honor is the culmination of the legend's celebrated, decades-long career in radio, which launched in the '70s when a teenaged Simpson got his start on the Detroit airwaves. At the time, he looked to a handful of local DJs as mentors, including the high-spirited Ernie Durham. 

"I did not adopt his on-air style, but I try very much to adopt his off-air style. He always carried it with class," Simpson said of Durham. "And that was the example to me: to always be kind to people, to look people in the eye, no matter who they were."

It wasn't until Simpson left Detroit, in 1977, and logged his first few years at WKYS 93.9 in D.C.––a station he would reformat and lead to No. 1 as program director––that he found his stride on air, he says. 

"It's something I always say, and it's so true: I don't have to be great––I just have to be me," Simpson says. "Being you always works because that's the spirit that connects us. That's the thing that makes you real to people; they feel you when you are you. When you're trying to be something else, they know that, too."

Simpson says he's long avoided listening to recordings of himself for fear that the inevitable analysis would disrupt the "magic" of what he'd helped create. That approach also extended to his TV career, which started—not counting a role he now laughs about on a short-lived dance show in Detroit—when he served as backup sports anchor for WRC-TV in the early '80s. Not long after, he began hosting a relatively new show on the then-burgeoning BET network. Simpson had concerns about whether the show was the right fit for him.

"BET, in its infancy, wasn't a very pretty baby. The quality wasn't there. I've always been protective of image, because that's all I have," Simpson says. "But after thinking about it for two days, I decided this: This is our first Black television network. If you have something to offer it, you have to do it."

The two-hour show, "Video Soul," which spotlighted Black artists at a time when MTV was almost exclusively focused on white musicians, became BET's highest-rated program at one point.

Jeriel Johnson, executive director of the Recording Academy's Washington, D.C., chapter, remembers watching "Video Soul" as a teen in his Cincinnati home. Simpson, he says, was a "steady presence of Black excellence."

"He was the face of BET," Johnson says. "He was just a staple, and he had such a calming voice and he was super smooth. I just looked up to him as a young, Black kid who loved music ... And I remember seeing him and being like, 'Wow, I could be on TV, too. If he can, I can.'"

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On the program, Simpson interviewed artists who were already riding the waves of success or were well on their way: Jodeci, SWV, New Edition, En Vogue, Mariah Carey, Take 6, Whitney Houston. Regardless of the star who graced the couch each night, Simpson took the same approach.

"For every guest I ever had on 'Video Soul,' they would bring me a bio with all this information on the artist … I wouldn't even read it," Simpson remembers. "That's the point of the interview, for me to get to know you."

Elise Perry, a producer and the president of the Recording Academy's Washington, D.C., chapter, worked behind the scenes on "Video Soul" in the '90s, a pivotal decade for both R&B and hip-hop, she notes.

"All of these different subgenres of R&B really started to have an uptick in the '90s, and the fact that BET was present visually at that time, representing Black music in that way—it was a very special time," Perry says. "There were a lot of Black folk there, and it was just like a party. It was where I got my 'master's degree,' I call it. Everybody was family … It was just like a mecca."

Read: Meet The Recording Academy D.C. Chapter's First Black Female President, Elise Perry

Simpson treated the crew like family and has continued to provide unparalleled support for the D.C. community over the years, Perry, a D.C. native, says.

"He's our family. He's our brother. He's our uncle. He's that dude next door. He's our neighbor. He's our friend," she says.

"Family" is also how GRAMMY-nominated producer Chucky Thompson describes Simpson, who had a big impact on him when he was growing up in D.C.

"I've learned so much about people from him, just the way that he's been excited about their careers," he says of Simpson. "It transcends to you. It's like, 'Wait a minute, Donnie's excited? Now I'm excited.'"

For Thompson, who helped craft hits for Faith Evans, Notorious B.I.G. and Mary J. Blige in the '90s, "Video Soul" was formative.

"It was almost like another version of what 'Soul Train' meant," Thompson says. "But [Simpson] got even more personal with you because he was able to talk to the artists and give you a little bit of insight on what their journeys were … He gave me a lot of information on how to make it in this business."

"Donnie Simpson is the standard," Joe Clair, comedian, radio personality, on-air veteran and host of "The Joe Clair Morning Show" on WPGC 95.5 FM in Washington, D.C., adds. "My mom and dad loved him, my siblings love him and people from a generation after me love him. That is a testament to who he is as a broadcaster and what he means to us as a voice for our community. I've worked with him throughout  the years, and he's given me valuable advice both for career moves and for negotiating my worth. He is a shining example for a life in radio and television on your own terms."

Yet becoming successful in the business, including achieving financial success, wasn't an easy journey for Simpson. The DJ has been vocal about the need for equitable pay for Black DJs. In recalling his own path to multimillion-dollar contracts, Simpson turns to a lyric from Elton John's "I've Seen That Movie Too": "It's a habit I have / I don't get pushed around."

"I've walked out [on deals], because you're not going to get me for half [the] price because I'm Black; those days are over," Simpson says, adding that in Detroit, he made one-fifth of what white DJs were making. "That was a very significant part of my career, to be able to be a part of changing that narrative, to letting them know you have to pay Black talent."

Simpson has also advocated for stations to put more of the DJ back into DJing. In the past few decades, he notes, many DJs have watched their curated playlists and airtime drift away due to technological advances and the consolidation of station ownership.

"So much of its personality has been stripped from it," Simpson says of the art of DJing. "I play whatever I want to play every day, but that's the magic of it to me … I don't want a computer programming music for me, because every day feels different. And I like to be tapped into that feeling."

In 1974, Simpson played Elton John's "Bennie And The Jets" on his show in Detroit, a decision he says he fretted about because "Black folks didn't know Elton John." He played the song twice that evening and got an overwhelming response from callers. John himself was soon on the phone with Simpson to discuss the record's success in Detroit; he handed Simpson a gold record for the single six months later.

"It's music that you wouldn't traditionally associate with Black radio; it's Elton. But that was a lesson to me," Simpson says. "It's all music to me; I don't care who made it. I just care what it sounds like [and] if it fits what I'm doing."

The fact that most DJs no longer have the latitude to craft their own playlists is a big loss for radio, Simpson says.

"You have young people out here with great ears that will never get the chance to express themselves musically because it's all programmed for them," he says. "I used to love it when wheels would touch down in Atlanta or New Orleans [or] L.A.—wherever it was. I couldn't wait to pull out my little transistor radio and hear what they were doing in that city, because it was always different."

After Simpson learned he'd be inducted into the Radio Hall Of Fame this year, he took a look at its roster of honorees over the past three decades. When he didn't see New York DJ and “Chief Rocker" Frankie Crocker and other Black radio icons on the list, the announcement gave him pause.

"These are voices that you should know about, some great talents through the years ... legends that have gone largely ignored," he says. "But I also, in my acceptance speech, acknowledged that the [Radio Hall Of Fame] is trying to correct that. You look at the list of inductees this year, with Angie Martinez, The Breakfast Club, Sway Calloway and me––man, it's like #OscarsTooBlack. It's a lot of people of color that went in this year. So they have recognized that, and I applaud them for that."

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At a time when systemic racism and police brutality against Black people have come to the forefront of the national dialogue, Simpson says he feels compelled to speak out.

"If I were not on the radio, if I didn't have a microphone, I think I would still feel that responsibility to whatever people I encounter that I could talk to, to tell them how important this moment in history is for us," Simpson says. "I am so honored that I have had a platform for, now, 51 years to allow these voices to come on the radio or on TV and talk about these matters that make a difference to our community."

In 2010, Simpson retired from WPGC, where he'd hosted a morning show for nearly two decades, after contending with a "toxic" environment. But five years later, he was back at the other end of the dial on D.C.'s WMMJ Majic 102.3. Now, another retirement seems like the furthest thing from his mind.

"What's there not to love about it? I sit there kicking it with people I love. We have all the fun we can stand," Simpson says.

As praise continues to roll in from industry A-listers for his Radio Hall Of Fame induction, Simpson has advice for the many artists and listeners who now look to him for guidance as he once looked to his own mentors: "Be kind."

Each morning, Simpson takes a walk or run beside the Potomac River. While he says there's a health benefit to the ritual, he's got an additional reason to step out of his door.

"What I'm really doing is collecting smiles," Simpson says. "That's kind of my purpose: to bring warmth and joy."

Tune in for a special Up Close & Personal conversation discussing Donnie Simpson's career and life in broadcasting. Moderated by Jimmy Jam, the event premieres Tuesday, Feb. 9, at 4:30 p.m. PST/7:30 p.m. EST via the Recording Academy's official Facebook page.

Beyond The Beltway: A Closer Look At Washington D.C.'s Vibrant Music Community

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Remote (Controlled) Pt. 1

Courtesy of The Recording Academy on Facebook

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How Do I Record My Own Music? The Recording Academy's Brand-New "Remote (Controlled)" Series Is Here To Help

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In the first installment of our three-part webinar series, "Remote (Controlled)," studio professionals break down what you'll need to record at home—from preamps to pop filters to the best set of headphones
Morgan Enos
GRAMMYs
Jan 28, 2021 - 3:00 pm

​If you're a budding musician or producer, there will come a day when you realize it's time to step up your game. When you've poured thousands of hours into your craft, substandard audio won't cut it. To transfer your creations to a stranger's ears cleanly, you're going to need quality, affordable gear and a little bit of know-how.

That's where our brand-new "Remote (Controlled)" series is here to help. Launching today, the three-part virtual webinar series from the Recording Academy's Membership team reveals the ins-and-outs of home recording. Our first episode, premiering below, consists of two conversations with our Producers & Engineers Wing members. P&E Senior Managing Director Maureen Droney introduces the series; Washington, D.C. Chapter P&E Committee co-chairs Dan Merceruio and Carolyn Malachi lead the conversations.

In the first half of the hour-long clip, recording engineer Jake Vicious and multi-instrumentalist/producer Asha Santee discuss how to record acoustic percussion instruments, such as Cajon, bongos, and shaker. Helpfully, the pair doesn't bombard the viewer with technical jargon but rather starts with the basics: Get yourself a decent interface, microphone, cables, mic stand, a MIDI keyboard (if you need one) and a DAW (digital audio workstation) such as Logic Pro X or Pro Tools.

Whether you're an absolute beginner or already know a thing or two about recording, the discussion abounds with helpful tips, from measuring mic distance by making a hang-ten symbol to the differences between dynamic and condenser mics. (Bonus: The tips and tricks featured in the video also apply to audio for podcasting.) Because it's a lighthearted chat between friends rather than a dry dissertation, the pair illuminates and clarifies what can be a confusing subject.

"I think it's really awesome for artists to understand what happens with sound and the equipment that they use inside of studios—just so they're aware," Santee remarks at one point while adjusting a noisy condenser mic. "When situations like this happen, we know what to do."

The second half consists of an exchange between singer/songwriter and Howard University student Samiyah Muhammad and producer-engineer Marcus Marshall. While Vicious and Santee are seasoned professionals, Muhammad has a bare-bones setup—VTech headphones, a Blue Yeti USB mic and a MacBook Air loaded up with GarageBand.

Read More: Remote (Controlled): The Recording Academy’s Guide To Making Your Livestreams Look And Sound Good

With a breezy, supportive air, Marshall encourages her to research more advanced DAWs on the market. "I always suggest for people that are getting into recording to kind of try all of them and see which one works best for you," he explains. "For the most part, all of them will get you to your end result. It really just depends on what you like, what you prefer, and what some of the workflows are." Marshall also offers tips about using pop filters, eliminating background noise, and communicating with engineers to avoid headaches during the mixing and mastering processes.

"Remote (Controlled)" teaches everyday people to explore the tools at their disposal and make what might seem like a tedious act a creative opportunity. "This is great; this is great!" Santee exclaims at one point while pointing a cardioid mic at a pair of bongos. "I already feel empowered and like I'm going to get a better sound this time. Let's give it another shot!"

See below for a resource guide containing every device and system mentioned in this week's episode of "Remote (Controlled)."

Equipment Checklist

  • Microphone(s)
    • e.g. Neumann TLM 103, Sony C100, Manley Reference Cardioid, Peluso 22 251, etc.
    • Budget-friendly Recs: Shure SM58, Aston Spirit, Aston Origin, Rode NT1-A, Blue Microphones, Sennheiser MK
  • Pop Filter (Optional, but highly recommended for recording vocals)
    • Especially for condenser mics
    • e.g. Stedman Proscreen XL
  • Audio Interface 
    • e.g. Universal Audio Apollo Twin, M-Audio Fast Track, etc.
  • Headphones
    • ​Recommended: Closed-back headphones (rather than open-back), especially ones made for studio recording (rather than for listening experience, which may be EQ'd differently)
    • Look to companies like Shure, Audio-Technica, Sennheiser, AKG etc.
  • Studio Monitors (Optional)
  • Cables
    • e.g. XLR cables, 1/4-inch cables, etc.
  • DAW (Digital Audio Workstations)
    • ​e.g. Pro Tools, Logic Pro, Ableton Live, Presonus Studio One 5 Prime (free), etc.
  • VST Plugins (Optional)
    • ​e.g. Native Instruments Komplete, etc.

Best Practices

  1. Make yourself comfortable in your space: That is how you will get your best work
  2. Find the sound sweet spot in your room. (If possible, have somebody play while you listen around the room for the best sound.)
  3. Know what kind of mic you're using and what it is typically used for; this could affect how you choose to position your mic. (Mic types: Condenser, Cardioid, Omnidirectional, etc.)
  4. Spend time with mic placement: If you don't like what you hear, move the mic—placement is key
  5. Name your tracks before you record
  6. Name your sessions in a way that gives you or somebody else a lot of information (find suggested naming conventions in the Producers & Engineers Wing's "Recommendation for Delivery of Recorded Music Projects") 
  7. Identify and eliminate environmental noise (AC, heater, television, maybe even loud jewelry, etc.) while recording

Room Treatments

  1. The biggest problems in your studio are sources of reflection (parallel walls)
  2. What can help:
    • Foam panels (cost-effective)
    • Diffusers

Delivery

  • Best session notes are detailed
    • Mic/instrument/placement (i.e. "Track 1-TLM 103, Cajon, front")
  • Know your engineer's specifications (what their sample rates are)
  • Send .wav files, don't send MP3s

TRUST YOUR EAR!

  • Do a rough mix so the engineer has a sense of how you want it to sound

Remote (Controlled): The Recording Academy’s Guide To Recording Music Remotely With A Producer & Engineer

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Remote (Controlled) Pt. 3

Courtesy of The Recording Academy on Facebook

 
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The Recording Academy’s Guide To Livestreams remote-controlled-pt-3-livestreaming

Remote (Controlled): The Recording Academy’s Guide To Making Your Livestreams Look And Sound Good

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In the third and final installment of the three-part webinar series, musicians and engineers reveal how to make your livestreamed performance shine
Morgan Enos
Membership
Feb 11, 2021 - 1:08 pm

If you’ve been following the Recording Academy Producers and Engineers Wing’s dynamic new virtual webinar series, Remote (Controlled), you now have a solid foundation as to how to record music at home and work remotely with a producer and engineer. (And if you’re new to the series, be sure to catch up before you continue!) With those two videos under your belt, now you’re ready to share a livestream performance that looks and sounds fantastic—not a tinny, blurry nightmare from your bathtub or dining room table. 

For this third and final episode of Remote (Controlled), the P&E Wing pulled out all the stops, congregating musicians, engineers and technologists to help viewers navigate complicated software and make clean, classy, camera-toggling videos to remember.

After a brief introduction from P&E Wing Senior Managing Director Maureen Droney, the clip begins in earnest with a sobering juxtaposition that illustrates our changing musical landscape. A nest of onstage cables gives way to devices now familiar to anyone making online audio content: a condenser mic, an Mbox, a ring light. Then, Greg Carter of Black Fret—an Austin-based membership-based community of art patrons that provides grants for artists—explains how the Zoom-based musical landscape has improved since the pandemic began.

Read More: How Do I Record My Own Music? The Recording Academy's Brand-New "Remote (Controlled)" Series Is Here To Help

With improved technology often comes a hit to the wallet, though. You might be wondering: Doesn’t livestreaming require a litany of fancy tech upgrades? Not necessarily, as the video’s participants point out—and the first software you should reach for is free and open-source.

OBS Studio lets you stream easily on Windows, Mac and Linux. And to guide you through the learning curve, a tutorial for the software appears in this video. Chris Shaw, the committee co-chair of the Texas Chapter of the P&E Wing, is your guide through this process.

But how does livestreaming work when you’re a band, not a solo artist? Meet David and Joseph Dunwell, the guitarist/vocalist and lead singer of English pop-rock outfit The Dunwells. The brothers recall how they had to act quickly and decisively when COVID hit, grabbing equipment from their studio and setting up a livestream directly to their Facebook page. Then, their evolution accelerated when they discovered StreamYard, which allows for cross-platform streaming. 

Afterward, StreamYard’s Head of Marketing Dana Bentz joins a conversation with Shaw and singer/songwriter and Texas Chapter P&E Wing committee co-chair Lisa Morales. The video concludes with a demo from Austin musician Roger Blevins about making those grid-based, "Hollywood Squares"-style, one-man-band videos for a compelling visual experience. As he underlines, you don’t need a $4,000 computer or a cutting-edge smartphone—you just need time, persistence and imagination to make a superb livestream that sticks out from the rest. 

Check out the third episode of Remote (Controlled) above and read a list of the equipment mentioned below.

EQUIPMENT:
Used by Joe Barrelas McGonigel’s Mucky Duck (venue):

OBS software
DSLR
iPad, iPhones, Macbook Pro
Ida PTZ cameras
Avapass controller
Custom-built computer
Midas PRO1 house sound and monitors (matrix out for streaming)

Used by Chris Shaw (OBS Demo)
Webcam: Logitech C920
iPhone 7S
Microphone: AKG 414 UBS
Interface: Behringer UMC204HD

Used by The Dunwells:
StreamYard.com
Behringer UMC22 interface, Beringer UMC404HD interface
AKG studio K240 studio headphones Rode NT1 mic
AKG 214 mic
Taylor acoustic
Fender electric
Surface Go laptop
Macbook Pro laptop

Used by Roger Blevins:
Hardware: Mac MIni, UA Apollo interfaces, Canon M50, Canon T2i, Canon T5i, USB 3.0 HDMI capture card, pedal webcams, MIDI pedal
Software: Ecamm Live, Logic, Loopback, UA Midi Control, MidiPipe

Used by Jon Muq:
iPhone

Options for Streaming:
Zoom, StreamYard, YouTube, Blackmagic, Restream

Streaming Set Up Requirements

1. Bandwidth is the most important thing you need to have good audio and video quality. Plug an ethernet cable from your internet router to your laptop/desktop or perform as close to the wifi router as possible. Ask everyone to stay off the internet during your shows.

2. Video quality Built-in laptop cameras don’t have great resolution. Use a USB HD webcam or phone as it will give much better video quality. Good lighting is important.

3. Configure Audio Settings on Zoom Turn off original sound, choose the input device you are using, suppress background noise to "low," leave echo cancellation on "auto" and select "high fidelity music mode."

4. Backing tracks Use two laptops for best results (see link below for more best practices).

For detailed Zoom instructions, click here.

Remote (Controlled): The Recording Academy’s Guide To Recording Music Remotely With A Producer & Engineer

Remote (Controlled) Pt. 2

 

 

Courtesy of The Recording Academy on Facebook

 
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Remote (Controlled): The Recording Academy’s Guide To Recording Music Remotely With A Producer & Engineer

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On the second installment of the three-part webinar series, recording engineers demonstrate the best use of remote communication and collaboration
Morgan Enos
GRAMMYs
Feb 4, 2021 - 2:39 pm

COVID-19 may have changed our day-to-day lives, but it hasn't stopped music-makers from doing what they do best: creating. The Recording Academy Producers & Engineers Wing’s new virtual webinar series, Remote (Controlled), which premiered on Jan. 28, tackles the ins-and-outs of recording while socially distanced for those not ready to get back in the studio or who can't travel to one location. 

The second episode, hosted by the senior managing director of the P&E Wing, Maureen Droney, and with appearances from Los Angeles Chapter P&E Wing Committee Co-Chairs Jon Yip and Cheche Alara, hones in on the challenges of working remotely with a producer or engineer. Tips from guest panelists, GRAMMY-winning engineer Rafa Sardina, Village Studios owner/CEO Jeff Greenberg and Former Studio Director at The Palms and engineer Zoe Thrall, can help creators avoid everything from technology breakdown to games of telephone to out-and-out personality clashes. Here are some of the gems from the second episode, which can be watched in full below. 

Prepare, Prepare, Prepare

Sardina, Greenberg, and Thrall have three words for viewers: Prepare, prepare, prepare. "The reason for all this prep is to avoid the problems that may come up if something goes wrong," Thrall says in the clip. "Many times, you’ll only have a certain amount of time with the artist, so you need to optimize the time and capture the performance, and not be worried about having all the elements of the session during the session."

Communication Is Key

Greenberg stresses that using videoconferencing will go a long way in communicating small stuff like mic placement. "You want to be able to see where the mics are on the kit or on the piano or something like that," he says. “You have to communicate with them if you’re not getting a clear or great-sounding signal to move mics from time to time." Greenberg advises to have several options ready in case one fails: "It’s great to have anything—FaceTime, Zoom, any other way—you want to have as much redundancy in front of you as you possibly can, so if one goes down, you can keep going."

Once you have your system ready, tests are key for achieving good sound. Look out for feedback loops to avoid an ear-splitting disaster. "Especially if you’re using monitors in your setup,” Thrall instructs. “Otherwise, you can use a reliable pair of headphones that you feel are accurate enough to judge the recording." This way, along with having all the necessary adapters and chargers at hand, you can stop problems before they snowball.

In 2021, the routes to recording remotely are nearly infinite. As Thrall points out, one can even use remote-access software to control the producer’s screen when need be. But with that, the potential mounts to step on others’ toes. Greenberg stresses the importance of clearly establishing the chain of command to bolster efficiency. “The engineer should be the captain if the producer’s not present,” he says. “And if it’s a technical problem, the engineer should be in charge. Everybody else should stand by until there’s a solution found." It's the engineer's job to delegate tasks "because if you start getting five or six people interacting on one problem, it can turn into a situation where you take way too much time.”

Read More: Remote (Controlled): The Recording Academy’s Guide To Making Your Livestreams Look And Sound Good

Watch A Live Example

While this “Remote (Controlled)” episode has much wisdom to share, it won't leave music-makers hanging. It ends with a live demonstration of how to produce remotely—in this case, with a team 5,000 miles apart. GRAMMY-nominated composer John Beasley joins in to help by playing several takes of “Reverie,” a solo piano piece he wrote 25 years ago for his daughter. Sardina, who is engineering the track, guides you through the take.

"You’re going to be sending me your audio via AudioMovers; you’re running your own Pro Tools session from your laptop; the microphones in the studio are connected to some preamps [and] they’re going straight to your interface,” Sardina says. After Beasley’s takes, he offers feedback about mic placement: "I hear everything leaning a little bit toward the left and the lower notes… I think it has to do with moving both microphones toward the higher notes of the piano."

Beasley adds some advice: "Just like in any session, you have to be patient and kind of move with the flow. Anything can happen, as we well know. You’ve done enough prep work to where it’s not going to get in the way of you coming off with a good take and a good performance."

See below for a list of remote recording recommendations and best practices.

HOW TO BE READY FOR ANYTHING: PREPARATION IS THE KEY

PRODUCER / ENGINEER / COMPOSER

  • Recording Preparation: Prepare beforehand and send the session, preferably the day before (NEVER immediately before)

    • Arrangements – Have them in the original format (Logic, Finale, Sibelius, etc.) on a separate computer, and in PDF format.

    • Scores – Have them in the original format (Logic, Finale, Sibelius, etc.) on a separate computer, and in PDF format.

    • Lyrics – Typed out and double-spaced

    • Samples

    • Audio or song references
       

  • Have redundant audio & communication methods

    • For audio transmission

      • Audiomovers over Ethernet connection

      • Nicecast or similar over WIFI connection

      • SourceConnect over a separate WIFI connection

      • As an EMERGENCY OPTION, have a regular Zoom, Skype, FaceTime, WhatsApp option set up (in the control room or in the recording room, or both)

    • For communication

      • Zoom over Ethernet connection

      • WhatsApp over phone line connection

      • Skype or FaceTime over WIFI connection

      • Direct phone line if nothing else is available
         

  • Test the audio & communication methods by transmitting to yourself using a separate device (computer, phone, iPad, etc.)

  • Test the system so you avoid any kind of audio loop/feedback. If you need to use speakers to monitor and listen to the session, test how you will communicate. If not, try using a reliable set of headphones, ones that you feel comfortable judging the session with.

  • Talk with all the parties involved bout the contingency plan if anything goes wrong and someone in the team gets disconnected.

    • Who has the authority to continue with the session, AND MORE IMPORTANTLY what part of the session should anyone continue with?

    • One piece of music or song vs. another based on the relevance of who is still connected, importance of the music, deadline, etc.

  • Slate all the takes and agree on the playlist numbers management.

  • Try to send the recording of a take as a Pro Tools session. Always time allowing & preferably during a break of the session.

  • Try to have the same session open at the non-recording end. Just to be able to follow song structure or other changes

  • How to share computer access to assist your artist technically during a session, even riding the session from your end.

ARTIST / TALENT

  • Send beforehand ANY recording recommendations to the self-recording artist or remote engineer.

  • Explain how to maximize existing gear, and how to maximize efficiency…

    • …by avoiding excessive setup changes. Explain how to get multiple setups ready from the get-go. Including how to document and recall preamp gain/EQ settings.

    • …by preparing the paperwork (music charts, song structures, lyrics, musician splits) before the session starts.

    • …by agreeing to what breaks to take, how often, and how long.

  • Send a copy of your recommended audio & communication methods to the artist/talent, and explain your preferences (AS EXPLAINED ABOVE). 

    • And explain how to self-test the system before the session.

How Do I Record My Own Music? The Recording Academy's Brand-New "Remote (Controlled)" Series Is Here To Help

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