I hope the New Year has proved a good one for everyone so far!

Just a quick update on what’s going on at EQ Studios. This week, we are proud to announce the release of the album 'Starting Now' by 'Bridge of Sound'. The album, which was produced at EQ Studios contains some wonderfully varied songs and features the vocal talents of MD Harvey and Alyce Practice. 

If you want to take a listen, just head over to www.bridgeofsound.com to see a video of Alyce singing the beautiful ballad 'Live Today'. In addition, you can hear samples of other songs and also purchase tracks online or by post. This was such a great project to work on and we're delighted with the results. I'd love to hear what you think so any feedback you have, please feel free to leave a comment on this post.

Here’s to a productive week ahead!

Well, it’s definitely a bit of a wind-down period for EQ Studios as Christmas descends, so I’ll keep this blog short and sweet!

One thing I do want to mention is the Professional Development Series courses that BASCA are rolling out in 2012. You can view them here-: http://www.basca.org.uk/news/basca-launches-new-professional-business-development-programme/

As you all already know, I’m a huge fan of the work of BASCA and would strongly recommend that if you are going on to invest in a course, a recognised body such as BASCA is the place to do it. Plus the fees are incredibly reasonable.

All that leaves me to say is a huge thanks to all my clients for their continuing support of the studio. It’s been an absolute pleasure working with everyone and I’m really looking forward to seeing what next year brings!

So, I’d like to wish everyone a very Merry Christmas and a happy, healthy and prosperous New Year. Here’s to 2012!

Christmas isn’t far off but it came a little early for me this week when I received a copy of legendary guitar hero Albert Lee’s latest album ‘On The Town Tonight’. Aside from it being an incredible album, there on the back is my name as the producer at EQ Studios. It was a very proud moment Albert has been an idol of mine for many years and to be a part of one of his creations is just phenomenal for me!

Last week a great pedal steel guitar player, Roger Rettig flew in from the USA to lay down some tracks, and on Tuesday brilliant Irish artiste Theresa Rodgers came in to record a song for her latest album.

I also got the opportunity to work with the lovely Denise from Raising Awareness who filmed and will be producing a video for EQ Studios. It was great fun and I’m excited to see how the video will turn out!

So Christmas is coming up….and I can’t resist another little plug of our EQ Studios gift voucher scheme! A great way to offer a friend or family member the opportunity of spending time enjoying the recording experience at EQ Studios, you can buy vouchers for 2 hours at £80, 4 hours at £150 and 8 hours at £280. If you'd like to find out more please contact me on info@eqstudios.co.uk

Until the next blog, hope you all have a great weekend :)

This past week I’ve been having a great time in the studio with some of my Irish clients.

Theresa Rodgers has been in laying down vocals for her latest album and Mick McGinty’s latest album ‘Michael’ is now fully mastered and I have to say, sounds fantastic. There will also be a launch party for Mick’s album release at Moore’s in Colindale, which I imagine will be a fun evening! I’ll be helping out on guitar and my daughter Alice will be on backing vocals. Both of us are also featured on the album.

We also laid down the backing track of a new ballad written by Rasheed Ogunlaru. It’s very much in the development stages but I’m incredibly excited - it is quite beautiful. Earlier in the month we worked on another of his own songs  ‘Meanwhile Life Passes By’.  You can have a listen to the track we recorded and produced on YouTube.

In other news, there is a brief but very kind reference in the BASCA magazine ‘The Works’, about my appearance at the Songshop event back in September. ‘Special guest John Hamilton from EQ Studios gave an impressive demonstration of building a demo from scratch’. It’s brilliant to get such positive feedback so I’m really pleased with that. Good to know I wasn’t talking nonsense ;)

If you’re looking for some interesting reading material, I recommend you have a look at this article by Paul White on DV Magazine about the common mistakes made when recording and mastering. There are some very useful tips-:

http://magazine.dv247.com/2011/11/16/common-recording-and-mixing-mistakes-part-one/

Hope you all have a great week! 

John

This week, I’ve had the pleasure of working on some really interesting bits and pieces. On Monday, we completed mixing and mastering the debut album for ‘Bridge of Sound’. It’s a very unique concept album co-produced by EQS and the artiste, featuring vocals from composer Michael Harvey, Alyce Practice and Dean Dyson. The album features an incredibly eclectic mix of songs, which in some ways is reminiscent of The Allan Parsons Project where a single composer brings in various session singers with Allan Parsons producing.

We also produced a demo of ‘Busy Times’, a beautiful song written by BASCA member Philip Clover and Julie Harrison. My daughter Alyce provided some of the vocals and the whole session was an absolute delight. 

Philip very kindly posted the following comment on our Facebook page ‘Had a fabulous two days at EQ Studios this week. John Hamilton is just the best... and Alyce is a most brilliant versatile vocalist. So to you aspiring songwriters out there... get down to EQ and John will interpret exactly what you are looking for. Well worth it.’ 

Those are the types of comments which are just brilliant to hear and it’s always great to know that the client has had a good time whilst in the studio and of course, is then pleased with the finished product!

I can’t believe we’re already reaching the end of October and I’m glad to say it’s been another very busy week here at EQ Studios.

So earlier in the week I had jazz musicians Brian Dee and Tony Hiller in again finalising their songs. They’re sounding great – even though I’m present (and of course engineering) every stage of the recording and mastering process, it’s always nice to see how a song is developing, and this promises to be good!

Tomorrow I’m really excited to be recording some songs by the very talented songwriter Tim Fraser. Singer Louise Setara is doing the vocal honors, and she really is fantastic. If you haven’t heard her, Google her – a wonderful voice and talent. To be working with such high caliber musicians is just brilliant.

This weekend I’m also laying down the vocals of one of my own songs called 'Little Me' with June Caravel. Go check out her 'London Song' on YouTube – it’s so good! She's actually French, you know! 

Two very nice people, Patrick Ryan and Julie Yammanee were also in this week completing one of their own songs called 'Last Chance Christmas'. They have been fun to work with.

Finally, this goes out to all singers out there - the BBC is doing a vocal talent competition called ‘The Voice’ (http://www.bbc.co.uk/thevoiceuk/). I know, I know, there are so many of these talent shows around but I really like the look of this as it promises to concentrate on talent as opposed to the soap-drama of X Factor. The last date of entry is midnight on the 24th Oct - so don't hang about!

Hope everyone has had a great week! It’s been another busy one here at EQ Studios and I’ve had the pleasure of working with some great musicians. This week I had renowned jazz pianist Brian Dee and his writing partner Tony Hiller in the studio recording some original tracks. Later that day we were joined by legendary trumpeter Bruce Adams who laid down some amazing overdubs. Needless to say, the tracks are sounding fantastic and these really are great guys to work with. It certainly makes my job so enjoyable!

The quality of musicianship throughout the whole session was absolutely fantastic and I was blown away by the talent on display. Tony who is a very successful publisher is flying over to the States to pitch the songs to 

producer David Foster, who has produced albums for Michael Bublé. I’m looking forward to hearing how that goes!

What a really love about my job is its diversity and earlier in the week I had a hypnotherapist in recording a CD to help people with insomnia. CDs and podcasts are a great way of providing a service to a large number of people, so if this is something you may be interested in doing, then please do contact me on john@eqstudios.co.uk.

That’s about it for now but I’ll be back on the blog next week with some more EQ news and updates.

‘More of the Same only Different’

 Creating/Producing a Sellable S

  By John Hamilton

Tune in to Radio One or Two, listen to your Ipod or CD player. You might listen to a Cole Porter song from the ‘40’s, a Beatles song from the 60’s or the latest hip hop smash from the States. All of these songs have one thing in common; at some point, someone(s) sat down and created them. Fancy yourself as a budding song-writer? Read on.

I recently attended a song-writing ‘surgery’ at BASCA (British Academy of Songwriters, Composers and Authors), where ten members had the opportunity of having their songs assessed by a panel of experts.

As the only guest present, the main thing that struck me was that, with one or two exceptions, most of the songs presented that evening were of a pretty reasonable standard (ie good lyrics and strong melodies).

I thought that the three-man panel (all with successful track-records in the music industry) were honest and generous in their assessments and were obviously committed to helping each delegate move forward with their songs and writing in general.

As I listened to the songs that evening, the thought struck me, ‘What makes a hit song? Are there quantifiable elements in the structure of a hit and are there external tools that can be utilised to enhance the creative process?’

Sam Goldwyn of MGM when asked what he was looking for in a script, famously replied, ‘More of the same, only different.’

Confusing? But think about it – nearly every hit record over the years does contain traces of the familiar (it could be in the melody, lyric, or even the arrangement), but, in addition, these hits usually have some little twist that somehow makes them ‘different’, and it is that unique quality along with a touch of the familiar that can trigger the listener into ‘buying’ mode.

The good news is that many of the ‘rules’ of song-writing can be learnt. The stuff that can’t be learnt can, at least, be cultivated.  

There is an old saying – ‘rules, as a rule, should be disobeyed’. That’s ok, but it is not a bad idea that you know these rules before you start breaking them.

I’m going to lay out some pointers for you (not rules), and my advice is:

Take advantage of the ones that make sense to you, and discard the rest.

But unless you are into re-inventing the wheel, you will find they all make sense.

 In today’s world of popular music, melodies, lyrics and production are now bundled together as part of the overall writing process. The days of Tin Pan Alley where a writer could bash out a tune on a piano and get a deal, are gone.

Al Shux, who has a co-writing credit on the recent Alicia Keys smash Empire State of Mind, when asked how he co-writes, replied, ’Usually someone does the melody, and someone else does the lyric. I sort out the production’.

It’s official- Music, lyric and production are now joined at the compositional hip. RIP Lennon and McCartney

Here are some of the  things you can learn- so pay attention at the back!

 
No.1. Genre

Be aware of and study your genre of choice. Let’s say you have written a song in the style of Lady Gaga. So, check-out . . . yup, Lady Gaga. Listen carefully to her records and analyse the structure, instrumentation and arrangements that lend them their unique shape and sound.

I have a theory that the first thing we notice about a record is the sound.

If that grabs you, you then begin to notice the other stuff. So, get forensic. Write down every instrument, backing vocal and weird noise that you can hear. What instrument(s) predominate in the mix? Drums?  – which drums in particular – kick, snare, claps? Also synths, guitars, fx etc. Observe how the lead vocal interacts with the overall backing-track. If you have your own home production facility (usually a lap-top running music software like Logic, Cubase, or Nuendo), practice by creating authentic karaoke backing-tracks of the most successful songs in your genre of choice. It will make you more focused when you produce your own material.

By carrying out this analysis and subsequent replication exercise, you are learning to integrate the ‘familiar’ into your production habits before adding the magic ingredient ‘X’ that will turn your song into the ‘smash’ you have always dreamed about.

No.2. Structure

Your song structure should be designed to take the listener on an exciting rollercoaster journey from intro to finale. There are standard structures you should be aware of – intro, verse, verse, bridge, chorus etc, and you should know this stuff before deciding to ditch it. They exist for a reason.

Hit-records that break the rules are invariably the exceptions that prove them. (Now make yourself a nice cup of tea and think about that).

Make the effort to step outside your song and think like a non-musician (horrors!). That objectivity can be hard to achieve, but, wait, help is at hand. I’ve got a mate who is from the ‘Don’t know a thing about music, but I know what I like’ school of appreciation, and over the years I’ve really learned to value his opinion, even if it hurts – especially if it hurts. You too have a mate like that, we all do. Play your piece to him/her and listen hard to their opinions.  They might not make immediate sense, but frequently these ‘musically challenged’ friends can put the finger on why your song isn’t working.

Now, unless you are Stevie Wonder (or even if you are), do not insert endless choruses during or at the end of the song to enhance your message.

Quantity doth not make quality.

I remember years ago seeing Prince at Wembley. Near the end of the gig he started jamming on a repeat chorus. Since this was his second encore and England were on TV, I made my excuses and got out before I lost the will to live. And that was Prince, not the likes of you and me!

I actually lost the will to live later that evening when England lost in the penalty shoot-out (plus c’est la meme chose).

No.3. Lyric 

Is it complicated or simple? Does it tell a story? Is it repetitive, metaphorical, or even allegorical? Does it have unusual hook phrases (eg ‘wanna take a ride on your disco stick’ - Gaga).

Give it a distinctive, catchy title. That will help put the song on the map and avoid confusion with future royalties.

Whatever lyrical tricks and techniques you use, make sure they achieve what you intend – connection with the listener. Trust, but continually monitor, your instincts. Do not be clever for its own sake, and avoid clichés, especially in ballads and country music. I have watched too many publishers sigh and reject an otherwise excellent song because of lazy lyrics. Believe it or not, just one duff line can have them pressing ‘OFF’ on the remote.

This writing game is ultra competitive, you have to take care of all the angles.

Do not say ‘I love you’ EVER.

If you can, however, find a way of saying ‘I love you’, without actually saying it, book your holiday in the sun now. Here are some examples from writers who acquired perma-tans.

‘I’m not in love’, ‘If I loved you’, ‘When I fall in love’.

No.4. Melody

When you have written your song, play it to that same mate and see if he can sing/whistle/moan it back to you. If he just frowns, it is probably re-write time.

When Richard Rogers was asked ‘when did he realise he had a hit on his hands with Oklahoma’, he replied, ‘Three days after opening on Broadway, I was wakened by the milkman whistling Oh what a Beautiful Morning.’

Now whether or not this was related to the provenance of his baby daughter is a matter of conjecture, but it does make a good point. If the punters can whistle it – you might just be on to something. Check out McCartney’s Jenny Wren (Chaos and Creation 2005) and there he is, our national treasure, way past his bed-time, artfully switching keys and conjuring up beautiful melodies from the 12 notes on offer.

 No.5. Polish your Baby 

Some writers have told me proudly, ‘I wrote this in ten minutes’.

Unless you are Bob Dylan, it is 99% certain that your song will need further (often extensive) editing and re-writing before it can be unleashed on to the unsuspecting listener.

All writers are thrilled when the muse presents them with an inspired idea. But almost without exception that idea needs to be developed before it can call itself a complete song. You may have written a killer chorus – great – now make sure you have equally brilliant verses. In fact, make it your intention to make the weak verses even better than that killer chorus.

That’s what the big boys do. Paul Simon (my personal hero) once asked Brian Eno, the producer of one of his last albums, ‘Do you think I’m obsessive?’

Eno replied, ‘I hope so.’

Professionals do not suck the life out of a song by chipping away at it. They mould it into their vision, and they do not give up until that vision is achieved.

And here’s the stuff you can’t learn.

What do Gary Barlow, Elton John and Paul McCartney have that has enabled them to write hit after hit over the years?

Talent, Curiosity and Passion.

Talent: That is the capacity not just to play an instrument or sing, but the gift and intuitive sense that can pluck catchy melodies and memorable lyrics - seemingly out of thin air.

Curiosity: Curiosity is the mother of inspiration . . . and inspiration can create magic. When you walk down the street, are you semi-focused on the middle distance, or do you stay sharp and observe the little vignettes that are playing all around you?

The barber showing photographs
a banker with a motorcar,
The pretty nurse selling poppies from a tray . .

Paul McCartney who wrote these lines, was curious, became inspired, and let his talent do the rest. Result - Penny Lane.

Passion: Passion nurtures the talent, retains the sense of curiosity, and gives you the drive to keep going when others might quit.

I’ve been involved with songwriters for over twenty years now and I’ve observed many big talents fail through lack of drive. You need to have all three of the above if you want to stand a chance – and even then you need a bit of luck. Song-writing is not a rational career choice!

 A little advice: Professional song-writers keep notebooks and/or voice recorders with them at all times, so when inspiration says ‘hello’, they can promptly record it. If it turns up in a dream at 3am, sit-up and write it down. If that requires holding a pillow over a moaning partner’s face, so be it – you may be the richest inmate in jail one day!

 Here’s a big one. Cut down on TV. That’s other people’s inspiration you’re watching – and every hour you watch is an hour lost. Get out, meet people, communicate, discuss, argue and, above all, observe and record. All that stuff is press-ups for the imagination.

Train yourself to become aware and appreciative of everything around you – the angry taxi driver, a baby crying, the sound of wind in the trees – everything (well, perhaps not the taxi driver).

If you compose on an instrument (eg keyboards, guitar), practice to improve. It will enhance your writing. Burt Bacharach’s prayer when he writes at the piano - ‘Lord keep my fingers away from the usual places.’

Listen to lots of music, in all styles. It all goes in, and having danced round your melting-pot brain for a while, it will re-emerge in a style distinctly yours.

Talent and a sense of curiosity can’t be taught, but they can be cultivated, and if you work at your art/craft, the results, in terms of the flow of original ideas, will astound you. Stick with it, and inspiration will come, frequently when you don’t expect it. And even if the song doesn’t always appear, you will still be a happier bunny. I guarantee it.

Enjoy the lettuce.

The first quarter of 2011 is almost over, but it doesn’t seem like three months since our last newsletter. 

The studio has been very busy since the New Year – some earlier projects continue – Albert Lee album and DVD, and Michael Harvey album, while Gavin Sparks' plus Corrib's albums were mixed and mastered in February.

Two new clients have appeared this month. Lee Laurent and Ravi (both of them the result of a recommendation at a BASCA song 'surgery').

Other clients who have been in include Brian Dee, Tony Hiller, Phil Ryan, Sonia Rattan, Peter Conway, Keith Munday (trying out our new Shure SM7 microphone on a beautiful blues instrumental dedicated to the late Gary Moore. Veteran singer Freddie Woods has been in recording an album of standards and Mick McGinty has begun an album of Irish folk. Songlink's David Stark was in with two wonderful session singers doing bv's to his lead in great little song 'Astronaut' - don't forget you heard it here first, folks!

I have written a piece of music with French lyrics by Elie-Paul Cohen and daughter Alice laid the vocals down last week. Although I say it myself, it's a beaut!

On the voice-over front, Valentine Palmer voiced some great lines in his inimitable mellifluous tones, while the lovely Annie Ashcroft (Self-Confidence Centre) recorded a hypnotherapy tape on the subject of success and relaxation. Don't ask me what I thought of it - Annie wakened me up when it was over - and somehow or another it didn't seem right to charge her for the session!

Finally, and with great sadness, I heard of the passing last week of Pam Robbins. Pam ran The Original Songwriters in Kensington and latterly in Bethnal Green. She was a true friend to a host of musicians, singers and songwriters and many people owe their first break in performing their material with a great backing band to the facilities provided by Pam at TOS. Two artists I have produced, Lucie Kaz and latterly daughter Alice performed at TOS and really benefited from the experience. Her passing is not only a personal loss to me but to the song writing community in general. 

November/December has, once again, been a very busy time at EQ Studios. Not only has the studio been running to full capacity, but the general quality of work has also been of the highest standard.

In the first week in December we had the honour of welcoming guitar legend Albert Lee into the studio to lay down tracks for his forthcoming album. John H. has long been a fan of Albert’s and having the experience of recording one of the true virtuosi of guitar at EQS was truly unforgettable. It was also great fun to sit over coffee with Albert and his drummer/label manager Peter Baron and hear him reminisce about his experiences with Dolly Parton, Emmylou Harris, The Everly Bros, and many others.

In November we hosted sessions with the eminent actress Phyllida Law (mother of Emma and Sophie Thompson) who performed voice-overs for a childrens’ book written by Sandra Conway. Her adaptability and professionalism were a joy to experience. The book is great, also!

Good news for another of our clients, Peter Conway. One of his songs has been short-listed by Hollywood as the title-track for the next Justin Timberlake movie, now in production.

Dave Smith and Peter Buley were in, writing for Shirley Bassey – a brilliant track produced by us and featuring the vocals of John’s daughter Alice. She gets better by the day!

btw Alice will be appearing  on the 19^th December at Dingwalls in Camden, singing backing vocals for Jonah Lewie.

Dave also came in to sing a self-penned number as an audition piece for the latest heats of Britain’s got Talent

Robin Smith from Rokpool was in compiling his Christmas album – some wonderful songs.

Nigel Jackson, a gifted writer and guitarist, came in to record and sing his latest in a series of marvellous songs.

We had a session with a tremendous singing talent Sean Ruane – an operatic tenor (check him out on YouTube).

Album projects with Barry Dawes (gospel), Gavin Sparks (jazz) and Michael Harvey (eclectic!) continued through Nov and Dec.

Noted jazz pianist and composer, Brian Dee, came to the studio with his partner (publisher and lyricist) Tony Hiller (Brotherhood of Man) laying down new songs.

BASCA member, Mike McLachlan was in producing a brand-new song – again sung by John’s daughter Alice. Mike is such a fine commercial writer, and Alice did a great job.

Sonia Rattan came in to finalise three new songs – also very commercial.

Actor Robert Willox came in to do a London themed song (aimed at the London Olympics) – sung by Alice – (Alice is really turning out to be our latest secret weapon of success!)

We have just completed a beautifully moving tribute to John Lennon composed by client David Evans.

Mixing/mastering the latest album by Irish folk group Corrib is just about finalised – this album promises to be quite beautiful.

Finally can we take this opportunity to thank all of our clients for their custom over the past 12 months, and wish each and every one of you a very Merry Christmas and a Happy New Year.

We look forward to being of service to you in 2011.