I just returned from a trip to my home town Hannover, "rock capital of Germany", and I reconnected with some former band mates from almost 40 years ago with whom I had my first recording experiences back in the '70s. Not only was our reunion a superb celebration of friendship- it was a celebration of a dream that we share to this day- to be a musician! What a dream, and how touching it was for me to be reminded where it all started...

Little did I know that playing with the group 'Sunset' in 1979 prepared me for a much, much bigger step just a few years later- to move to America, be a full time musician, and play (for my first gig in the US) on Sunset Blvd at the famed Whisky a Go Go. My tiny little dream had expanded into a really big one and had cast me onto a breathtaking trajectory that continues to amaze me to this day.

So I guess my point is that tiny dreams can turn into big ones just like that. As I continue to dream up my next chapter I hope that you will take time to dream up yours- and if it involves music, perhaps we can even share in it...

'Sunset' reunion 2016: Hans Christian (bass), Sibylle Burkhardt (lead vocs), Thomas Werner (keys), Leo James Steiner (guitar). Missing is Thilo Woelbling (drums).

Hello, Hans Christian here!
Today I want to share with you one of my passions- the love of high quality microphones. Ever since I laid my hands on my first microphone as a teenager I was fascinated by the idea of using mics on instruments and trying to capture sound as best as possible. Since that first mic (a Sennheiser MD 421 for you geeks out there...) I have bought and sold dozens microphones. I have experimented with all kinds of mics on my cello and have been recorded by other engineers with all kinds of mics, from Coles ribbon mics to AKG 451s, Shure SM57s, and everything inbetween...

So what's the new stuff that I just got?
Well, for starters, I realized that my beloved NEUMANN M147 tube microphone was pretty badly misbehaving and needed a complete restoration. A new vacuum tube and a new transformer for the power supply needed to be installed, and a thorough professional cleaning of the diaphragm was also in order. This difficult work was expertly done by Tom Onofrio, and the mic is now better than new.

While I was waiting for the M147 to be fixed I had a sweet moment of weakness and allowed myself to purchase a long held dream- a PELUSO VTB vacuum tube mic, made by a small American company that has a knack for developing microphones in a vintage style. I wanted to find out how good these mics really are, and after comparing it with the freshly restored Neumann M 147 I couldn't let it go. The M 147 and the VTB compliment each other nicely- they are different enough that I needed to keep them both! So, now I have two top quality large diaphragm tube microphones. But wait, there is more!!!

A "casual stroll" on eBay led me to another golden opportunity: a matched pair of TELEFUNKEN M260s, slightly used but in pristine condition. The M260s are also vacuum tube microphones but with a small capsule (or several capsules, as they are interchangeable). These mics were offered by a seasoned engineer, Mr. Stuart Breed, who has had the amazingly good fortune of working with Geoff Emerick on Beatles reissues, amongst many other things.

So guess what I'll be doing in the next few days and weeks? Recording of course!

If you want to record with these and other high quality gear,  drop me a line! I'm always glad to hear from you.

Your sound geek...
Hans

In my previous blog (making a living in music, part 1) I focused on the history of the record business over the past 40 years and where we are right now in terms of distribution, listening habits, and royalty streams for musicians.

Another aspect to look at is what kind of business models musicians have these days. It seems to me that "making music" alone is not enough to being a musician. A degree in promotion, social media, accounting, electronic engineering, IT, and an apprenticeship with a moving company might also come in handy. In other words, to be a musician means to be a multitasker. Now, there ARE musicians that have made it to a point in their career where they draw large audiences and make the big bucks or where their recordings generate a nice income through royalties and licensing. We all aspire to that goal, right? So, as a young musician it is important to lay the foundation by getting registered with one of the Performing Rights Organizations as a writer and as a publisher. I did this in my early 20s when I was asked to co-write a few songs with composer John Cacavas for a TV mini series called "Jenny's War". This series was aired all over the world and I received royalties from BMI for years. It showed me the importance of registering everything that I do with BMI as a writer and a publisher.

Also, it is really important to get real with yourself by asking "what kind of artist am I?". Do you like performing or do you dread it? Are you playing mainstream music that might have a large market or are you an esoteric 21st century composer who will always be eclectic? Are you comfortable in the studio or would you rather be on stage? We are all a bit different in this regard, and we are also evolving. In my case, I started in classical music, added rock/funk/pop as a bass player, and continued to explore other directions on stage and in the studio: folk, world music, electronic, ambient, and neoclassical. All of this helped me to become a music producer, a better musician, and hopefully a better human.

So, your way might lead you to big stages, or to film scoring, or to being a record producer. I love all of it and embrace the diversity of being a musician of the 21st century. As I am getting ready for another esoteric solo concert for cello, sarangi,. nyckelharpa, sitara, tibetan bowls, and live looping, I'm also working with other artists in classical, jazz, and rock genres. It all fits together just fine.

STUDIO 330 has become the center for all of these activities- recording, experimenting, composing, and brain storming. That is what a recording studio really is these days- an incubator for great musical ideas.

More to come...

Musically speaking,
Hans Christian

In the "old days" (1970s, 80s, and 90s) it was pretty clear what the goal was for a musician: getting a development deal from an established label that would give you enough money to live and write music for a year; and a recording contract with a "major" label that would throw their marketing machine at you and see how your record would do.Those days weren't all bad- record companies had young A&R personnel scouting the clubs in LA and NYC for new talent and taking six figure chances on artists. Yes, there were horrific contracts for young artists to sign, and many came to regret their hasty decisions. But not all was bad- the business was built on personal relationships and on creativity. The artists with new ideas had a real chance to record and be heard.
After the meltdown of the record  business in the late 1990's things changed. Like, a lot! Gone are the record companies (the old system basically self destructed), gone are the horrific contracts, too. The internet is the new distribution system, with streaming being the new way to listen to music. Everybody can post songs now. It's a lot more democratic, and a lot more people can be reached through the internet. The mechanical royalties from streaming service as a pittance, though, and my sincerest gratitude to Taylor Swift for taking Apple to task!!! You don't know what I'm talking about? Search it: Taylor Swift vs. Apple.
So, royalties have diminished, although the listener base has increased. Musicians are getting organized and are fighting to get a higher royalty from streaming. Spotify, Apple Music, Pandora, and others are clinging to a $10 a month membership fee. Where is it all heading? I have no idea...
I am heading to Chartres, France again to play in that timeless cathedral, and play for a live audience. This is what musicians do, right? Regardless of the old ways/new ways, we bring our music onto stages around the world and celebrate our gifts and our musical discoveries. We play, people listen, and a community forms. This will hopefully never change.

More to come...