Gary Powell’s Lecture Follow-up


to Glenn Richter’s Music Business Classes at the University of Texas

Thank you, Glenn Richter, for another great day with you and your students. Here are links to some of the topics we hit on in both your classes for those students interested in following up. See you soon. — Gary Powell

News on Podcasting
Antares Auto-Tune and A-Vox

I don’t remember which student in the morning class turned us on to this, but this site is exactly the kind of thing I was talking about. It figures someone has developed this kind of idea so completely. I’m lovin’ this. Please tell the student (on the back row) thank you for me: Artistshare

This PBSYOU program will be helpful to anyone with an individual spirit: Entrepreneurship Classes on PBSYOU

Powell Studio Productions in Austin, Texas uses the following music production applications:

For Sample Library Playback:
Tascam GigaStudio
Real Guitars with Modeled Guitar Sounds:
Line6
For Digital Audio and Sequencing:
Digital Performer
For Music Notation:
Sibelius

Thank you, Glenn Richter, for another great day with you and your students. Here are links to some of the topics we hit on in both your classes for those students interested in following up. See you soon. — Gary Powell

News on Podcasting
Antares Auto-Tune and A-Vox

I don’t remember which student in the morning class turned us on to this, but this site is exactly the kind of thing I was talking about. It figures someone has developed this kind of idea so completely. I’m lovin’ this. Please tell the student (on the back row) thank you for me: Artistshare

This PBSYOU program will be helpful to anyone with an individual spirit: Entrepreneurship Classes on PBSYOU

Powell Studio Productions in Austin, Texas uses the following music production applications:

For Sample Library Playback:
Tascam GigaStudio
Real Guitars with Modeled Guitar Sounds:
Line6
For Digital Audio and Sequencing:
Digital Performer
For Music Notation:
Sibelius

Four Tube Condenser Microphones Tested

Gary Powell & Marty Lesterby Gary Powell

Marty Lester (young guy on the right), audio engineer from the Austin production studio, Tequila Mockingbird, helped me compare four cardioid tube microphones;
As pictured – Top left: Mojave MA200 $1k (Mojave Audio) / Top right: Rode NTV $1k / Bottom Left: Manley Reference $2.7k / Bottom Right: AT-4060 $1.4k (Audio Technica)

This quest started when I heard an Austin CD engineered by Marty Lester back in 1999 for artist Robert Kraft. I thought this was maybe the best vocal sound I had ever heard recorded, so I called Marty to find out how he did it. The microphone was a Manley Reference recorded through an Avalon mic-pre.

I know the Rode NTV very well and have used it for years, so it was my standard by which to compare the three new contenders. The Mojave and NTV were run through the Drawmer 1960 mic pre. The Manley and the AT-4060 were run through the Peavey VMP2.

I’ll let Marty share his opinions in the comments, but I think we were in agreement. These are all tube microphones with a single cardioid pick-up pattern. Let me say first that each of these mics could be the perfect microphone for any particular singer.Four Cardiod Tube Microphones That said, without price being a factor, the newly released Mojave MA200 designed by David Royer was the clear winner.

Mojave MA200 – This was like going to your local Ear, Nose and Throat specialist and having your ear wax removed and feeling like your ears hadn’t been in the studio for 30 years!

Rode NTV – A little boxy in the middle, but I’ve always loved it on “airy” singers prone to sibilance problems.

Manley Reference – That famous “grain” sound up top is wonderful, but I thought the mids were a little overpowered by it.

AT-4060 – Smooth through all the frequencies, but a little dark on the top. I should own this mic just for that one singer who would sound great on it.

Also, I compared the Neumann TLM103 against my AKG-414 ULS. After routing them both through the Drawmer 1960, I found them so similar that there was no discernable reason to purchase the Neumann as much as I liked it.

My special thanks to Marty Lester in bringing Tequila’s Manley and his excellent ears over to my studio. Also, thank you Jeffrey Green my Sweetwater sales engineer, for suggesting the Mojave and sending out so many mics.

Gary Powell & Marty Lesterby Gary Powell

Marty Lester (young guy on the right), audio engineer from the Austin production studio, Tequila Mockingbird, helped me compare four cardioid tube microphones;
As pictured – Top left: Mojave MA200 $1k (Mojave Audio) / Top right: Rode NTV $1k / Bottom Left: Manley Reference $2.7k / Bottom Right: AT-4060 $1.4k (Audio Technica)

This quest started when I heard an Austin CD engineered by Marty Lester back in 1999 for artist Robert Kraft. I thought this was maybe the best vocal sound I had ever heard recorded, so I called Marty to find out how he did it. The microphone was a Manley Reference recorded through an Avalon mic-pre.

I know the Rode NTV very well and have used it for years, so it was my standard by which to compare the three new contenders. The Mojave and NTV were run through the Drawmer 1960 mic pre. The Manley and the AT-4060 were run through the Peavey VMP2.

I’ll let Marty share his opinions in the comments, but I think we were in agreement. These are all tube microphones with a single cardioid pick-up pattern. Let me say first that each of these mics could be the perfect microphone for any particular singer.Four Cardiod Tube Microphones That said, without price being a factor, the newly released Mojave MA200 designed by David Royer was the clear winner.

Mojave MA200 – This was like going to your local Ear, Nose and Throat specialist and having your ear wax removed and feeling like your ears hadn’t been in the studio for 30 years!

Rode NTV – A little boxy in the middle, but I’ve always loved it on “airy” singers prone to sibilance problems.

Manley Reference – That famous “grain” sound up top is wonderful, but I thought the mids were a little overpowered by it.

AT-4060 – Smooth through all the frequencies, but a little dark on the top. I should own this mic just for that one singer who would sound great on it.

Also, I compared the Neumann TLM103 against my AKG-414 ULS. After routing them both through the Drawmer 1960, I found them so similar that there was no discernable reason to purchase the Neumann as much as I liked it.

My special thanks to Marty Lester in bringing Tequila’s Manley and his excellent ears over to my studio. Also, thank you Jeffrey Green my Sweetwater sales engineer, for suggesting the Mojave and sending out so many mics.

A Pre-Lecture Invitation to Students


The University of Texas / TC 301
The Business of Music Performance

by Gary Powell

Alpine Horn Player at Lake LouiseGlenn Richter teaches this class of freshman Plan II students and has invited me to guest lecture October 5th. I always enjoy spending a day with Glenn and his students each semester.

A Note to the Class of TC 301

The college experience is going to be wholly different for you than it was for me when I was a freshman music major in 1969. The ego-driven, autocratic classroom learning model of “I know everything and you don’t” is hopefully dying. Music is a dynamic subject, meaning we must learn together how to negotiate the rapid changes in technology and sociology.

“Just because something has always been doesn’t mean it should always be!”

As freshmen, you are probably feeling some of this life dynamism right now. As we age, the game only intensifies. I remember being surprised in learning that adults never really “arrive” at what might be called the “best expression” of their lives. So, how does this life and artful dynamism relate to musical performers? Plenty! Certainly you have your favorites. This is the perfect class whereby the examination of a performer’s art and life might become an examination of your own!

Here’s where you, the young student, gets to hear someone else’s truth unprotected from “spin”. I remember, when presented with a chance of talking with a professional, feeling like I didn’t know enough to even know what my questions should be. I don’t want you to have a lost opportunity.

So, instead of asking questions, I suggest that you, the student, individually post a comment here that will help prepare me for visiting your class. I also suggest that you actually make comments rather than ask questions.

Why Comments Instead of Questions?

Like I said, sometimes we don’t know enough to ask a question. As Plan II students, I know you can write and comment on what’s around you. For instance, the photo at the right has plenty to comment on if you are interested in the performing arts. If we can move the conversation toward cogent and thoughful concern for YOUR experience then my brief visit might be helpful to you. If nothing else, you will learn that your education is YOUR responsibility regardless of who’s paying for it or who’s teaching you. So, post away. Having trouble getting started? Here are some ideas on how you might start your post:

I’m concerned about …
I’m observing that…
My experience has been that…
When I hear “whatever”, I feel that…
My hope is that…
My fear is that…
The music business is…
Dude, wait ’til you hear this…

I will assimilate your comments and try to facilitate a meaningful class for you.

Need more stimulation?

Check out my Lecture Topics and see if any of this has something do you with YOU. Let’s see if we, together, can make this a memorable day. Thank you, Glenn Richter, for inviting me into your already successful program. I wish this course had been offered in 1969!

by Gary Powell

Alpine Horn Player at Lake LouiseGlenn Richter teaches this class of freshman Plan II students and has invited me to guest lecture October 5th. I always enjoy spending a day with Glenn and his students each semester.

A Note to the Class of TC 301

The college experience is going to be wholly different for you than it was for me when I was a freshman music major in 1969. The ego-driven, autocratic classroom learning model of “I know everything and you don’t” is hopefully dying. Music is a dynamic subject, meaning we must learn together how to negotiate the rapid changes in technology and sociology.

“Just because something has always been doesn’t mean it should always be!”

As freshmen, you are probably feeling some of this life dynamism right now. As we age, the game only intensifies. I remember being surprised in learning that adults never really “arrive” at what might be called the “best expression” of their lives. So, how does this life and artful dynamism relate to musical performers? Plenty! Certainly you have your favorites. This is the perfect class whereby the examination of a performer’s art and life might become an examination of your own!

Here’s where you, the young student, gets to hear someone else’s truth unprotected from “spin”. I remember, when presented with a chance of talking with a professional, feeling like I didn’t know enough to even know what my questions should be. I don’t want you to have a lost opportunity.

So, instead of asking questions, I suggest that you, the student, individually post a comment here that will help prepare me for visiting your class. I also suggest that you actually make comments rather than ask questions.

Why Comments Instead of Questions?

Like I said, sometimes we don’t know enough to ask a question. As Plan II students, I know you can write and comment on what’s around you. For instance, the photo at the right has plenty to comment on if you are interested in the performing arts. If we can move the conversation toward cogent and thoughful concern for YOUR experience then my brief visit might be helpful to you. If nothing else, you will learn that your education is YOUR responsibility regardless of who’s paying for it or who’s teaching you. So, post away. Having trouble getting started? Here are some ideas on how you might start your post:

I’m concerned about …
I’m observing that…
My experience has been that…
When I hear “whatever”, I feel that…
My hope is that…
My fear is that…
The music business is…
Dude, wait ’til you hear this…

I will assimilate your comments and try to facilitate a meaningful class for you.

Need more stimulation?

Check out my Lecture Topics and see if any of this has something do you with YOU. Let’s see if we, together, can make this a memorable day. Thank you, Glenn Richter, for inviting me into your already successful program. I wish this course had been offered in 1969!

A Pre-Lecture Invitation to Students

The University of Texas / Music 376C
The Business of Music

by Gary Powell

University of Texas TowerGlenn Richter teaches this class of upper division students and has invited me to guest lecture October 5th. Glenn is a long-term ally of mine who actively searches out new experiences for himself and his students.

A Note to the Class of Mus 376C

Learning by appointment in the classic model of “here’s the information you need, learn it now” does not always work. Maybe this system is an effective way to study 18th century literature, however, any subject that is either dynamic in technology or highly personal and subjective is going to be bogged down under this archaic “non-method”.

“Just because something has always been doesn’t mean it should always be!”

Music is both technically dynamic and highly subjective. One could argue that anytime a lecturer leaves the student out of the process excepting examinations, it might be a good idea for her to look around the classroom for drooping eyelids, nodding-off heads, surreptitious text messaging and game boys. (If only my iPod earbuds were a little smaller and not so white.)

Here’s where you, the interactive, self-motivated and under-appreciated student, get to drive the subject toward your interests. I could talk about myself for several years (as well as any narcissist), but much of that data would not be beneficial to you. The remedy for this problem is for me to know where YOU are, not where I have been.

So, let’s use this cool blogging technology to do more than just rant. I suggest that you, the student, individually post a comment here that will help prepare me for visiting your class. I also suggest that you make comments rather than ask questions.

Why Comments Instead of Questions?

Sometimes when we ask questions, we as individuals are not aware of our own psychology behind the question. A comment, however, puts your brain on notice that you might have to defend your comment. Therefore, you might reveal to yourself more about yourself AND learn more about the responsibility you have for your own education. If you need help with not asking a question, try starting sentences like this:

I’m concerned about …
I’m observing that…
My experience has been that…
When I hear “whatever”, I feel that…
My hope is that…
My fear is that…
The music business is…
Dude, wait ’til you hear this…

I will assimilate your comments and try to facilitate a meaningful class for you.

Need more stimulation?

Check out my Lecture Topics and see if any of this has something do you with YOU. I look forward to both meeting and learning from you guys and hope we all enjoy this exercise. Thank you, Glenn Richter, for your brave soul and warm heart.

by Gary Powell

University of Texas TowerGlenn Richter teaches this class of upper division students and has invited me to guest lecture October 5th. Glenn is a long-term ally of mine who actively searches out new experiences for himself and his students.

A Note to the Class of Mus 376C

Learning by appointment in the classic model of “here’s the information you need, learn it now” does not always work. Maybe this system is an effective way to study 18th century literature, however, any subject that is either dynamic in technology or highly personal and subjective is going to be bogged down under this archaic “non-method”.

“Just because something has always been doesn’t mean it should always be!”

Music is both technically dynamic and highly subjective. One could argue that anytime a lecturer leaves the student out of the process excepting examinations, it might be a good idea for her to look around the classroom for drooping eyelids, nodding-off heads, surreptitious text messaging and game boys. (If only my iPod earbuds were a little smaller and not so white.)

Here’s where you, the interactive, self-motivated and under-appreciated student, get to drive the subject toward your interests. I could talk about myself for several years (as well as any narcissist), but much of that data would not be beneficial to you. The remedy for this problem is for me to know where YOU are, not where I have been.

So, let’s use this cool blogging technology to do more than just rant. I suggest that you, the student, individually post a comment here that will help prepare me for visiting your class. I also suggest that you make comments rather than ask questions.

Why Comments Instead of Questions?

Sometimes when we ask questions, we as individuals are not aware of our own psychology behind the question. A comment, however, puts your brain on notice that you might have to defend your comment. Therefore, you might reveal to yourself more about yourself AND learn more about the responsibility you have for your own education. If you need help with not asking a question, try starting sentences like this:

I’m concerned about …
I’m observing that…
My experience has been that…
When I hear “whatever”, I feel that…
My hope is that…
My fear is that…
The music business is…
Dude, wait ’til you hear this…

I will assimilate your comments and try to facilitate a meaningful class for you.

Need more stimulation?

Check out my Lecture Topics and see if any of this has something do you with YOU. I look forward to both meeting and learning from you guys and hope we all enjoy this exercise. Thank you, Glenn Richter, for your brave soul and warm heart.

Author John Lee Records Poetry

“Sleeping in Public”

by Gary PowellGrowing Yourself Back Up Book Cover

John Lee is the author of the bestselling “Flying Boy” series, as well as “Facing the Fire: Experiencing and Expressing Anger Appropriately” and “Writing from the Body”. He lives in Woodstock, Georgia, with his wife, Susan, and conducts workshops around the country. BUT, he used to live in Austin just around the corner from me. We met in the studio today to continue an audio project we had actually begun on November 25, 1995. The date is important only in our recognition of where we have both “arrived” in one small decade.

This afternoon in my Austin studio, we recorded John reciting his book of poetry Sleeping in Public. John’s wonderful words are disarmingly simple even though he is dealing with complex personal emotions and the struggle we all share in becoming healthy, loving, whole human beings. My contribution to our effort together is to create a musical compliment for John’s prose and love of writing.

This is an effort born of mutual interest and respect without the trappings of commercialism. We expect it out sometime in the next decade. :grin: I’m guessing it will be sooner than later. Stay tuned. In the meantime, visit John Lee’s website and learn more about his sixteen books and life story. You will find him this weekend presenting at The Crossings, a learning center and wellness spa in Austin, Texas.

by Gary PowellGrowing Yourself Back Up Book Cover

John Lee is the author of the bestselling “Flying Boy” series, as well as “Facing the Fire: Experiencing and Expressing Anger Appropriately” and “Writing from the Body”. He lives in Woodstock, Georgia, with his wife, Susan, and conducts workshops around the country. BUT, he used to live in Austin just around the corner from me. We met in the studio today to continue an audio project we had actually begun on November 25, 1995. The date is important only in our recognition of where we have both “arrived” in one small decade.

This afternoon in my Austin studio, we recorded John reciting his book of poetry Sleeping in Public. John’s wonderful words are disarmingly simple even though he is dealing with complex personal emotions and the struggle we all share in becoming healthy, loving, whole human beings. My contribution to our effort together is to create a musical compliment for John’s prose and love of writing.

This is an effort born of mutual interest and respect without the trappings of commercialism. We expect it out sometime in the next decade. :grin: I’m guessing it will be sooner than later. Stay tuned. In the meantime, visit John Lee’s website and learn more about his sixteen books and life story. You will find him this weekend presenting at The Crossings, a learning center and wellness spa in Austin, Texas.

The Austin “Lollipop” Studio Singers

by Gary Powell

Austin Session PhotoWalt Disney’s new animated feature movie “Chicken Little” is due in theatres on November 4, 2005. Chances are pretty good that there you might hear the 1958 song “Lollipop”, written by Ross and Dixon, originally performed by the Chordettes.

Ted Kryczko, Vice President of Product Development for Walt Disney Records, calls saying we’re going to cover the song on an upcoming release in support of the movie. When I get the call, immediately my head starts spinning in search of the perfect singers. In this case, it was simple. Which three Austin studio singers could best replicate possibly the most white-bread, bubble-gum infectious tune ever perpetrated on the Amercian musical scene? So who best to deliver the “cheese” factor but Jerome Schoolar, Rebecca Schoolar (Jerome’s sister) and Meredith McCall. Beyond their cheesiness, all three singers have many credits in my studio and active careers themselves in theatre and TV.

Our mission was to pretty much cover the original vocal sound which is a simple three part texture. With these three singers in front on the mics we started running through the parts. What we found was something that happens in many of our old favorite songs. The Chordettes were not very accurate at keeping the vocal texture in three parts. Occasionally, just like with the great “Peter, Paul and Mary”, the singers would accidentally drop into two parts. This happens not by design, but by being unconscious.

So, do we replicate the unconsious mistakes or fix them? We chose to fix them. The only thing most civilians will notice is that the song sounds SO much better. This stealthy integrity is what most professionals build and sneak into their content… despite focus groups. (There, I said it and I’m glad!)

Most of the vocal changes and burdon fell on Jerome, who sang the lowest part, singing more difficult intervals in order to keep the vocal texture full and in three parts. This created a part that a “non-musician” singer would never choose. This takes some discernment and a good ear which is not the easiest route to pizza and a beer at the end of the day.

The result, however, is SO worth it. We recorded the singers in two passes, each pass with all three parts. We panned each pass left and right at about 10 and 2! (If you have questions about what this means, just post the question here.) This is the same technique that “The Manhattan Transfer” uses to get their signature sound. Jerome, Rebecca and Meredith delivered up the goods that are in tune, perfectly articulated as a group all with the bright AM Radio sound of the original Chordettes.

Thanks you guys, for another fun evening in the studio.

by Gary Powell

Austin Session PhotoWalt Disney’s new animated feature movie “Chicken Little” is due in theatres on November 4, 2005. Chances are pretty good that there you might hear the 1958 song “Lollipop”, written by Ross and Dixon, originally performed by the Chordettes.

Ted Kryczko, Vice President of Product Development for Walt Disney Records, calls saying we’re going to cover the song on an upcoming release in support of the movie. When I get the call, immediately my head starts spinning in search of the perfect singers. In this case, it was simple. Which three Austin studio singers could best replicate possibly the most white-bread, bubble-gum infectious tune ever perpetrated on the Amercian musical scene? So who best to deliver the “cheese” factor but Jerome Schoolar, Rebecca Schoolar (Jerome’s sister) and Meredith McCall. Beyond their cheesiness, all three singers have many credits in my studio and active careers themselves in theatre and TV.

Our mission was to pretty much cover the original vocal sound which is a simple three part texture. With these three singers in front on the mics we started running through the parts. What we found was something that happens in many of our old favorite songs. The Chordettes were not very accurate at keeping the vocal texture in three parts. Occasionally, just like with the great “Peter, Paul and Mary”, the singers would accidentally drop into two parts. This happens not by design, but by being unconscious.

So, do we replicate the unconsious mistakes or fix them? We chose to fix them. The only thing most civilians will notice is that the song sounds SO much better. This stealthy integrity is what most professionals build and sneak into their content… despite focus groups. (There, I said it and I’m glad!)

Most of the vocal changes and burdon fell on Jerome, who sang the lowest part, singing more difficult intervals in order to keep the vocal texture full and in three parts. This created a part that a “non-musician” singer would never choose. This takes some discernment and a good ear which is not the easiest route to pizza and a beer at the end of the day.

The result, however, is SO worth it. We recorded the singers in two passes, each pass with all three parts. We panned each pass left and right at about 10 and 2! (If you have questions about what this means, just post the question here.) This is the same technique that “The Manhattan Transfer” uses to get their signature sound. Jerome, Rebecca and Meredith delivered up the goods that are in tune, perfectly articulated as a group all with the bright AM Radio sound of the original Chordettes.

Thanks you guys, for another fun evening in the studio.