Interview Blog

Negotiation

Horacio Daniel Cabello is a band member, music writer, engineer (mixing and editing) and producer. Besides the stated, he is also a fierce negotiator. Not only does Mr. Cabello negotiate with his band members but he also negotiates with his clients from his home studio.

During our phone conversation I asked Mr. Cabello a series of questions but he was only willing to answer some and still asked that I be discreet when posting his answers on this blog.

Below are the questions I asked Mr. Cabello and his answers or refusal to answer.

       1.     What is your occupation?

Mr. Cabello: I am a producer/engineer for my band and also my clients.

       2.     Where do you use negotiations the most?

Mr. Cabello: That is a hard question to answer. Negotiations are used in everyday affairs and I seem to use them for every occasion. But now that I am reflecting on the question, I think I use negotiations most when I am with my band. It takes a lot of give and take to make a band work together. With all the different opinions that exist between the 5 different members of the band, I negotiate with them to help keep the balance between us.

       3.     So you wouldn’t say that you use negotiations most with your business?

Mr. Cabello: Yes, I can see how that would be the place I negotiate the most but I have a contract that is signed by all my clients. The contract covers all of my requirements and takes away any need for negotiating with the basics of my company. If matters get complicated and the client presents an alternative to one of my pre-requisites, and it is reasonable, then and only then am I willing to negotiate with clients.

       4.     From the way that you have spoken about your band members, you seem to be very close to them. Is            it hard to separate the people “band members” from the problem when there is a problem?

Mr. Cabello: Actually our band has been together for over 9 years and we have all gotten so close that we know that if there is a problem between us and one of us makes a suggestion to solve it, that it is not to be taken personally. If worse comes to worse though, I put aside the friendship and pretend that I am speaking to a stranger. This strategy brings the problem to the forefront and not the friendship. This allows for the bands future and security to be the main focus.

       5.     Do you consider yourself to have leverage and power over your band mates?

Mr. Cabello: No I do not and I do not wish to elaborate as that is a more personal question to me.

       6.     Do you go into a negotiation with a BATNA (Best Alternative To a Negotiated Agreement) in place?

Mr. Cabello: Yes I do. I am always prepared for the worst case scenario do I always come in with a back up plan and a back up plan to my back up plan. I do not like to lose so I take every measure that I can to ensure some kind of an agreement, even if it isn’t my first choice.

       7.     Is finding Objective Criteria one of the ways that you prepare for a negotiation?

Mr. Cabello: Absolutely. I think finding the objective criteria is one of the most important parts of preparation prior to going in to the negotiation. It helps both sides see the benefits of coming to an agreement.

       8.     Do you ever use dirty tricks or tactics to get your way in a negotiation?

Mr. Cabello: I believe very much in karma, and I know you might think that that has nothing to do with the question; in my eyes it is very relevant. If I use a dirty trick or tactic to get what I want I believe that it would come back at me ten fold. Aside from the fact that negotiating the dirty way is just not in my character, fear of karma definitely keeps me in check. So the answer is a big NO. Never have and I will never stoop so low. 

In accordance with Mr. Cabello’s schedule I only had an allotted amount of phone time with him for the interview. I was only able to get in the eight questions but I think I got enough information from him to know that he is a fair fighting negotiator. He has proven to me that not everyone needs to be a ‘shark’ to get what he or she wants in a negotiation. He uses many of the tactics discussed in class in his everyday negotiations and uses them successfully. 

Speakers

I think that those just starting out in the Industry (recording industry that is) have a misconception about which monitors would be best to mix and edit. Seeing as almost all the gear used in a recording studio is on the expensive side, they just automatically assume that the most expensive set of Studio monitors is the best choice. Well they could be more wrong.

When a product is more expensive it usually means either that they are made by a well know manufacturer who just charges for the name of the product or because they have high quality components inside of them that make it worth the money.

Lets take JBL as an example. JBL charges for both the name and the components. Just because JBL makes studio monitors it does not mean that they would be the best choice. They just have a well-established name with surround sound systems. The JBL LSR4328P studio monitors have the following specs:

-Frequency Response: +/-1.5 dB: 50 Hz -- 20 kHz, -3 dB: 43 Hz -- 22 kHz, -10 dB: 35 Hz -- 32 kHz

-SPL / 1m (Continuous/Peak): 106 dB / 112 dB

-Transducers: 8 in. 438H / 1 in. 431G; Self Shielded Neodymium Motor Structures

-Sensitivity +4 dBu, -10 dBV: 96 dB / 1m

-Amplification: 150 w/ 70 w

-Digital Processing: 24 Bit, 96 kHz

-Analog Inputs: XLR, 1/4 in. Balanced, +4 dBu, -10 dBV

-Digital Inputs: AES/EBU XLR, S/PDIF RCA

-Data Connections: Harman HiQnet Network, USB, RMC Mic

-Weight: 13.1 kg (29 lb)

-Dimensions (H x W x D): 438 mm x 267 mm x 269 mm; 17.25 in x 10.5 in x 10.6 in

Although they have great specification they are one, way to expensive starting at $1,539.00 a pair, and two, they are just not the kind of speaker you want to be mixing and editing on as u will find out later in the blog.

So now that we have decided that the JBL speakers are not the right choice for studio monitors, which ones are?

Everyone knows that most well known studios have a pair of NS10s as reference monitors. Yamaha has come up with a replica studio monitor that has the same clear quality as the NS10s but can also be used for mixing and editing. The Yamaha HS80Ms are amazing speakers. The quality is high and the clarity is even better. Although the low end is not as there as most would like it to be, the sub that is sold separately fixes that low-end problem. The only thing that can make these speakers better is the price.  The price of each speaker is $349.99 making the pair only $700. The sub that is sold separately is also $349.99 making the total $1049. The following specs are what make these speakers the right choice if u would like a pair of brand new speakers:




-2-way bass-reflex bi-amplified near-field studio monitor

-8" cone woofer and 1" dome high-frequency unit

-42Hz - 20kHz frequency response.

-120 watts dynamic bi-amplified power.

-XLR and TRS phone jack inputs accept balanced or unbalanced signals.

-Level control facilitates precise overall system level matching.

-MID EQ, ROOM CONTROL, and HIGH TRIM response control switches.

-LOW CUT switch.

-Full magnetic shielding.

I personally own the Yamaha HS80M speakers and I wouldn’t change them for anything except a 1980s boom box.

I know this sounds crazy, but the truth is that not everyone in the world who will be listening to your music will be listening through a pair of professional monitors. They will be listening from car radios, computer, iPods, stereos and monitors that will not do any justice to the mix. So it you, as an engineer, use a boom box, a stereo or even a pair of crappy old computer speakers, you have the ability to make a mix that sounds good everywhere and not just in your studio. If it sounds good on your old boom box then it will sound amazing on a good set of speakers.

Microphones

Microphones are evidently a must for any recording studio, whether it is for a professional or home recording studio. Obviously there are a few questions that come to mind when thinking about acquiring a microphone for your studio.

First question would be, which microphone would be the best for my studio (meaning can I buy one microphone that will serve multiple purposes). The next question is how many should I get and then, of course the biggest worry of all is how much will be spent on the microphone(s).

Well let’s start with the most economical. This first microphone ( SM 57) is not only money smart, but it is also a great microphone that can pretty much be used for anything.

The SM 57 is only $99.99, and it can be used for drums, guitars, overhead, woodwinds and even vocals.

Product Features

•                40Hz - 15kHz frequency response provides clean instrumental reproduction and rich

Vocal pickup

•                Uniform cardioids pickup pattern isolates the main sound source and minimizes

Background noise for clear audio transmission

•                Pneumatic shock mount system cuts down handling noise

•                Break-resistant stand adapter rotates 180° for optimal positioning

•                Rugged design protects against normal wear and tear

•                3-pin male XLR connector provides easy connectivity

Includes swivel stand adapter and storage bag

The next microphone is a little more expensive but it can also be used for lead vocals as well as solo instruments. It is a diverse high quality microphone called the AKG C 414 XL II. This microphone runs from $749 to $999, so it is a little more on the expensive side but reasonable for a top of the line microphone that can be used for multiple recording purposes. Listed bellow is some specs:

•                AKG C 414 - A legend since 1971

•                Nine selectable pickup patterns enables to choose the perfect setting for every

Application

•                Lock Mode: all controls can be disabled easily for trouble-free use

•                Peak Hold LED even detects shortest overload peaks

•                Incredible Dynamic Range of 152 dB

•                Three switchable different bass cut filters and three pre-attenuation levels

•                Leading-edge technology and state-of-the-art components ensure shortest signal

Path and extra protection against moisture

Designed, Engineered and Built in Vienna, Austria

Last but not least we have the top of the line Neumann U87 microphone most famously used by Michael Jackson for his entire “Thriller” album recordings. These microphones can be priced anywhere from $6000 to $15,000 or more for a stereo pair. These are classic amazing microphones and can be used for any kind of recording. This microphone would be an amazing asset to your studio and would be the showpiece. It would be the microphone to pull out when you want to compliment any singer’s vocals. Below are listed some specs:

Stereo Pair

·       Two U87s are matched in sensitivity and frequency response for accurate, pristine stereo recordings.

·       Three Polar Patterns

·       The U87 features three switchable polar patterns. Omni directional, cardioids, and figure-eight patterns provide the flexibility needed in any recording scenario.

·       10dB Pad Switch

·       10dB attenuation switch enables the microphone to handle sound pressure levels up to 127dB.

·       Low Cut Roll-Off Switch

·       A low cut roll off switch eliminates hum, rumble and low frequency noise.

·       Advanced Output Circuitry

·       Although the microphone features the original capsule, the U87 AIMT features improved output electronics that provide higher sensitivity and improved signal-to-noise ratio.

Overall all three microphones are amazing buys, I have just provided the different prices

And what each price gives you. 

Interfaces

With the release of protools 9, amateurs think that investing in an interface is pointless.  These unknowledgeable beginners are under the impression that because this new version of protools does not require an interface to run, like the previous versions of protools, that they do not have to purchase one at all.  These industry new comers are seriously mistaken if they think that just the software is enough to get them through to their careers.

Because this new protools system works so well with out the interface, the consensus with the new comers to the industry is that the required purchase of the interface with the software was nothing more than a ploy to sell the hardware. When in reality the hardware is the only way to record into the program and without the hardware there is really no use for the software. Yes it is true that the hardware can be pricy, but it is 100% necessary for more than 75% of the programs functions.

While there are countless interfaces out on the market, which ones are worth the investment?

Mbox Mini

Avid Pro Tools Mbox Mini (Mbox Mini with Pro Tools LE v8)

This interface is a 2-channel USB Audio Interface with 1 Mic Preamp and 1/4" Line/DI. Although this is one of the cheapest at around $330 it is very limited as to how many inputs can go into protools.

Avid Pro Tools Mbox (Mbox with Pro Tools LE v8)

Mbox

This interface is a 4-channel USB Audio/MIDI Interface with 2 Mic Preamps, DI, S/PDIF, Softclip Limiters, and Onboard. This interface give just a little more inputs than the mini but is still in the lower levels of professional interfaces. This hardware goes for around $550.

Avid Pro Tools Mbox Pro (Mbox Pro with Pro Tools LE v8)

Mbox Pro

This interface is higher up in the hardware food chain providing 8-channel FireWire Audio/MIDI Interface with 4 Mic Preamps, DI, S/PDIF, Softclip Limiters, and Onboard DSP. At $750 this interface is a little less affordable for those only willing to pay the minimum in gear.

Digidesign 003 Rack and 003 Factory

These two interfaces are pretty much the same thing only in different packages. Both interfaces are at the top of the line for protools LE users. Both offer complete functionality with the protools software.

           

003 Rack

           

Digidesign 003 Rack Features:

•                8 redesigned discrete analog inputs (4 mic/line/instrument (DI) preamps; phantom power selectable in two channel increments)

•                Alternate Source Input for monitoring -10 dBV audio equipment (tape players, CD players, etc.) directly to the monitor outputs

•                8 discrete analog outputs, all balanced +4 levels, plus a separate balanced monitor output

•                Improved 24-bit/96 kHz converters

•                Monitor output includes dedicated volume control knob

•                2 Headphone outputs include dedicated volume control knobs

•                Word Clock

•                8 channels of ADAT optical I/O

•                2 channels of S/PDIF I/O

MIDI I/O - 1 input port/2 output ports (16 channels in/32 out)

003 Factory

Digidesign 003 Factory Features:

•                Eight redesigned discrete analog inputs (four mic/line/instrument (DI) preamps; phantom power selectable in 2-channel increments)

•                Alternate Source Input for monitoring -10 dBV audio equipment (tape players, CD players, etc.) directly to the monitor outputs

•                Eight discrete analog outputs, all balanced +4 levels, plus a separate balanced monitor output

•                Improved 24-bit/96 kHz converters

•                Monitor output includes dedicated volume control knob

•                Two headphone outputs include dedicated volume control knobs

•                Standalone MIDI controller mode

•                Word clock

•                Jog/shuttle wheel

•                Eight channels of ADAT optical I/O

•                Two channels of S/PDIF I/O

MIDI I/O - one input port/two output ports (16 channels in/32 out)

Pro Tools 9

Avid (a.k.a  Digidesign), inventor of pro tools has once again out done themselves. In the past year and a half the industry standard and world-renowned DAW software pro tools, was reinvented. The company came out with pro tools 8 in mid 2009 replacing the previous 7.4 version. This upgrade was highly anticipated because of its new features that are listed below.

         Pro tools 8

• Beautiful, redesigned interface with new enhancements and customizability

• Comprehensive collection of professional sound-processing plug-ins, plus 20 new effects

• Score Editor and MIDI Editor windows offer comprehensive composing tools

• Create a flawless performance using new track compositing features

• Check for Updates feature keeps Pro Tools and plug-ins up to date

• QuickTime HD support on Mac OS X-based systems

• Lock regions to the timeline to prevent them from being moved or edited

• Five new groundbreaking virtual instruments for music creation

• Expands Pro Tools LE and M-Powered systems to support up to 48 mono or stereo audio tracks

• Transpose audio regions in real time with Elastic Pitch

• Automation and Controller lanes provide easy editing access

• Windows Vista (32-bit Business or Ultimate) support on Pro Tools HD

• Use more plug-ins without bussing, with access to 10 inserts per channel

• Supports files up to 4 GB, allowing for sessions with longer files and higher sample rates

Of course, with any new software there are bound to be some problems. Well avid, the company behind pro tools does an incredible job of listening to their customers and taking their suggestions to heart. With numerous problems arising, avid started working on all the suggestions given to them and thus was born pro tools 9.

Not only did pro tools 9 (released late 2010) comply with everything that the consumers desired, but it exceeded everyone’s expectations. Pro tools 9 opened up a whole new world of possibilities but eliminating one giant factor. All previous versions of pro tools required a piece of hardware to run the software. This one feature allows the user to open up pro tools where and when ever possible.

This advancement in the software is not the only thing that was added. As a matter of fact the entire program was re-invented and now features all the elements listed bellow.

         Pro tools 9 

Single, Unified Version of Pro Tools

• Pro Tools 9.0 provides a single, unified installer for Pro Tools and Pro Tools HD

• New Pro Tools 9.0 PACE copy protection with iLok USB key

Pro Tools Audio Engine

• Support for Core Audio hardware (including Mac built-in audio with supported Core Audio drivers installed

• Support for ASIO hardware with supported ASIO drivers installed

• New Pro Tools Playback Engine settings

• Current Engine setting for selecting which Audio engine to use

• Pro Tools Aggregate I/O option for using the built in audio on Mac

• Delay Compensation settings for all versions of Pro Tools

• New Pro Tools Hardware settings

• Ability to select Core Audio and ASIO interfaces

• Launch Setup Application command for Core Audio and ASIO audio interfaces

Mixing and Recording

• Increased number of audio and MIDI tracks

• Increased number of internal mix busses

• New Track and Send Output selector commands for faster, simplified signal routing and mixer configuration

• Multiple Stereo Pan Depth options

• 7.1 and 7.0 standard HD surround formats (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 only)

• Support for EUCONTM for controlling Pro Tools with EUCON-aware control surfaces

Import and Export Options for All Pro Tools Systems

• Advanced Import Session Data (formerly Pro Tools HD only, or Pro Tools LE with DV Toolkit 2 or Complete Production Toolkit only)

• Import AAF and OMF sequences (formerly with the Digi Translator 2.0 option only)

• New AAF import features and enhancements:

• New Locators To Import setting for importing locators from Media Composer–generated AAF sequences

• Export AAF and OMF sequences (formerly with the Digi Translator 2.0 option only)

• Avid Interplay Support with Mac

• Ability to check data into and out of Avid Interplay directly with the Interplay Access browser

• Export MP3 (formerly with the MP3 Export option only)

• Export Session as Text (formerly Pro Tools HD only)

What’s New for Pro Tools LE Users

I/O Setup Improvements

• Session and System settings

• Output and internal mix busses

• Ability to Import I/O Settings by page

• Overlapping Paths

• Improved session interchange

Advanced Digi Base Features

• Advanced search features

• Digi Base Catalogs

Editing Features

• Auto-Scrolling tracks in the Mix and Edit windows

• Advanced Beat Detective features

• Separate multiple tracks

• Collection mode

Delay Compensation

• Delay Compensation option, engine, view

• Low Latency Monitoring During Recording

• Delay Compensation on Auxiliary Input tracks, MIDI

As you can see from all the added features, pro tools 9 really stepped up its game. Combining the old pro tools software with the more advance and professional pro tools HD allowed avid to give the customers what they wanted and even what they didn’t know they wanted.

Pro tools 9 has again raised the bar on what is considered the industry standard and I can not see any of the competitors stealing that title.

Top headphones on the market today

In the Recording arts industry, top of the line gear and technology is a must. With so many big name studios and personal home recording studios, the technology the studios carry is what brings in the business. It also needs to cater to today’s generation.

            It used to be that the recording industry needed to make sure the deliverable content (music) was perfect for the popular medium (Record players, tape machines, CD players, ext.). Now, everyone is on the go with MP3 players and iPods. This means that the music has to be perfect for these digital mediums. This in its self is asking a lot because digital media presents glitches in music that was never a problem with analog media.

            Now we must ask our selves how we perfect this media that it no longer being listened to through loud speakers but through tiny ear buds. The answer is to put the mixing engineer in the consumer’s shoes. This means mixing the music in headphones. But not just any headphones, the engineer needs headphones that will show the tiniest bit of imperfection so that no matter how high or low quality headphones or ear buds the consumers have they all get the best quality sound that they can get.

            That brings us to today’s products. I will be reviewing three different, top of the line, professional headphones. First we have Audio Technica ATH-D40fs Enhanced-bass Precision Studiophones. These headphones are at the bottom of my three picks, although they do have their pros. The ATH-D40fs have an enhanced bass frequency response that allows for better hearing of the low frequencies such as the kick drum and the bass guitar. This can be helpful in many ways to the engineer but could also lead them to place those lower level frequencies to low to be heard with other headphones, seeing as only these have this bass enhancement. It would also be better if the headphones could have a larger range in frequency then the 20-28,000Hz that they have.

            Next we will be looking at the AKG K701 Headphones. These headphones are a little older but are still at the top on the market. The headphones are unique all around. They are the first to ever use flat wire technology. This technology helps out with the spacing of the instruments within the headphones giving the listener a true dynamic sound. This dynamic sound will give the listener the feeling that every orchestra member is exactly where they should be in a concert hall, making the listening experience feel real. I think what also helps them achieve this is there frequency response of 10- 39,800Hz, which is absolutely amazing and almost unheard of in headphones. You really could not get much better then these until Sennheiser decided to fight back with the HD 800s.

            The Sennheiser HD 800s are considered to be the Maserati of the headphone industry. These headphones are made out of top of the line parts with its Y cable made out of Kevlar-reinforced OFC copper wire for ultra durability. These headphones have everything that the AKGs have but times 10 with a frequency range of 6-51,000Hz, which I do not think exists in any other headphone. There simply remarkable design would have anyone thinking, why would I choose anything else? But this is where the price just might decide for you.

            The Audio Technica headphones are in the $150 range where as the AKGs are in the $450. These are a little more expensive but considering the amazing piece of technology that they are I would pay the difference, and the Sennheisers are a whopping $1700. Although these headphones are amazing, I do not have that much money to spend on a pair of headphones.

            So there you have it. I have that I have been helpful for those on the look out for a good pair of headphones.