Shure have just released their long awaited SM86...the condenser version of their SM58, the industry standard for rugged, trustworthy, performance in almost every Pop/Rock show ever in history!

 

Be careful before you rush out and buy one for your stage performing.  Condenser mics. are much more 'powerful'...in other words, they will pick up clearly and accurately at a far greater distance than a dynamic or ribbon mic..  They do not give the much sought after 'proximity' effect you get by having the mic. half inch from your mouth and the mic. at right angles to your body [straight out from your mouth].  This is a classic performance technique of almost every major name artist.  It creates great 'warmth' and fullness in the voice.

 

Therefore, the condenser mic. will pick up much more unwanted noise and music than is desirable.  You will get that lead guitarist blasting down your vocal mic. with his ancient Fender Twin Reverb at full tilt.  You will also get strange images of the other music on stage coming down your vocal mic.

 

Also - you will get more feedback problems if you use standard monitoring systems.  Although Shure are assuring us in their advertising that they have solved these problems, the Industry has yet to be convinced.

 

The new breed of stage condenser mics. are great for vocal quality and for talking - where you don't want the mic. covering your face [Telly, for instance] but I fear they will take a lot of convincing to get the mainstream artists to convert to condenser.  Would I?  Hmmmmmm!  I would have to be convinced.  They should sell well for home studios.

 

 

For instance, I was with Tony Hadley [Spandau Ballet] and Claire Sweeney on Friday night at the Television and Radio Institute Club's annual bash at London's Grosvenor house.  I was a guest on the top tables - isn't it nice to sit with the Chairman of Sony?

 

The sound crew used a Neuman Condenser mic. in the open Yamaha grand piano....big mistake in a live Gig. with a huge thrashing orchestra [fabulous, by the way!]. The reason is that the open piano lid acts like a sound board and all the band noise and spillage is collected inside the piano top and goes straight into the mic.  Remember that condenser mics. are much more powerful and pick up 'everything'?

 

 

By the way, Tony is the latest to add himself to my next book and Interactive CD '57 Secrets of a Hit Record'...he did a brilliant bit for the CD.  Also, John Lodge from 'Moody Blues' added his bit when I played golf with him on last Monday.  He wrote such classics as 'Nights in White Satin' with Justin Heywood.  His stories about writing three songs with Justin for next year's biggest Imax film is a total hoot!  This looks like being the most important book ever written on what makes a Hit Record.

 

Every thing I say in the book is amplified by Show Biz. hierarchy...for instance:

 

For the first time ever, and by one of my Members!  Great story ------- read this and maybe you can learn from it ......

You will know I offer '3 Days in the Studio With Dec' which is an intensive 3 days, where Members get to see precisely what goes into making a Hit Potential record.  I end up sh*gged at the end of the 3 days as I am hands on for ten hours a day.  I work on the track for a further three weeks, on and off, before I am satisfied it's got the best 'vibe'.  I have excellent musicians and singers available.

I vet the proposed song from the Member very closely and advise changes and improvements in the weeks prior to the '3 days'.  The cost is too reasonable...but, in fact, I enjoy the challenge.

 

You will know the old maxim:  "If you want a job done, give it to a busy man"

One got through the net.  I should have known...all the signs were there, in hindsight.  He was much too keen on the guarantee. "What position in the charts do you guarantee?" being just one amazing question he asked.

Song was overly simplistic - but he was quick to quote my 'No more than 29 differing words'.  The verse was exactly the same melody as the chorus...the middle 8 the same as the verse, and the chorus....!!!!!!!  He sent me the voice on one tape and the piano on another....weird!  So weird I thought the guy really knew what he was doing.

I honestly assumed that he was going to bring along some amazing musical ideas [I did tell him to bring as many ideas as possible with him, in his brain, on CD's he liked, etc.].  He brought 'nothing to the table'.  Sat back and expected me to produce him a Hit with no input whatever.  After one day, where he just sat back and ate sandwiches and drank milk [doesn't that tell you something?] I suggested that he should rewrite the middle 8, at very least, to give some meaning to the 'cliché lines in the verse and chorus ["Touch Me"].  He could not come up with anything - although I continuously gave him start points.  He merely kept going back to his old chorus/verse melody and chord structure.

He asked me a remarkable question: "have you got any CD booklets, with the lyrics in, so that I can nick some lines?"

We decided he would go away and write a middle 8 and perhaps re-write the verse.  I cancelled the vocal session for the next day...and showed him in no uncertain terms how we do vocal arrangement...24 tracks.  Although the finished product would be done by the back singers.  We eat well in our place so we had an excellent dinner [which he didn't like!]

He walked off into the night telling me he parked his car quite a distance away...all a bit strange.  I bet he got the bus home.

I said to Sandy that he would definitely pull a stroke...and he did!  Not a polite Email or an explanation.  Just a rude demand for his money back stating I did not have the enthusiasm he expected for his song!  Next day [I've been away as you know] an even ruder one.

So, should I change my 'lifetime guarantee, for any reason, no questions asked, even if you don't like the colour of the paper'?  I NEVER get asked for money back...I only get streams of unbelievable testimonials...

The only other one to pull a stroke was that guy from RMMS music newsgroup who took my ten months of releases and then asked for money back...no reason given.  Of course he got it.  I've even forgotten about him.  I reckon that was done with a purpose....to knock my material....but he couldn't do that after seeing the stuff!

 

So the lesson to learn in all that is to never try to deceive anyone in our brilliant Show Business...you will be found out very quick.  Also - learn to believe and trust in those in our Industry who have the experience and know what they are doing.  You cannot beat great experience.

 

 

 

Consider learning how to eat well and appreciate good food and wine...you WILL, sometime, be in a situation where you will be 'judged' by your appreciation of the good things in life.

 

Never refuse a drink or food without a polite, genuine and convincing reason.  I have friends who just daren't eat shellfish or nuts. Your host will be more than upset by just a blank refusal.  Of course, the opposite is true, as well.  Never over-eat or over-drink.

 

You may find these tiny bits of advice I offer for your consideration trivial BUT......

 

How would you have fared sitting at my table on last Friday night?  Would you have been invited to suite 504 after the bash for a quiet chat with the TOP Television and Radio Industries CEO's?  Think about it!  the champagne and smoked salmon sandwiches were gorgeous...and it was nice to drive John O'Neil home when his Limo didn't turn up on time in my BMW.....not meant to boast, just meant to convey what the real Show Business guys get up to....make it your goal...make it an aspiration.  By the way, his limo did turn up, but late, now, just think of who scored major Brownie points when I want my next music project sold?