Re: Key steps to make a recording sound "commercial"

On Wed, 23 May 2007 11:07:22 -0400, muzician21@xxxxxxxxx wrote
(in article <1179932842.040111.107570@xxxxxxxxxxxxxxxxxxxxxxxxxxx>):

On May 22, 3:57 pm, Allen Corneau <a...@xxxxxxxxxxxxxxx> wrote:
what are some key elements?

Professional musicians, professional producer, professional engineer,
professional studio, professional mastering, .......

Sorry for the cynical response, but...


Forgiven, I was expecting I'd get some cynicism.

My question is based on the assumption that the above laundry list
isn't practical. What are some key things an amateur home recording
enthusiast should be aware of to approximate this "commercial" sound?

What I'm largely referring to is what I'm going to call the overall
"sound field" you hear on a commercial CD. I find that even if I take
a nice clean stereo track that I've created or even a professionally
recorded backing track and mix a decently recorded, centered vocal
with it - recorded with a LD condenser, compress it a bit and add a
tasteful amount of reverb, it just doesn't sound the same. It can
sound decent, in tune, etc. even loud, but obviously they're applying
some other kinds of legerdermain to the tracks.

I'm referring to a typical pop-country commercial release type of
sound - which I realize is going to have a generally different
character than a recording of a choir, stage musical, orchestra, etc.
Things like Alan Jackson's "Gone Country", Leeann Rimes' "How Do I
Live", Sara Evans' "I Could Not Ask For More", etc.



Well there's talent involved too. You can't engineer that.

Regards,

Ty Ford


--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=4RZJ9MptZmU

.

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