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21 Tips and tricks
Helping you get the most out of your recording session
By "Goblin" (Ross Goodfellow)
- Plan ahead. This is the most important tip. It encompasses
all others. What songs will you record? Are all the musicians available
when you want to do this? How long will this take? What is the best
time for you to record?
- Compose at home. The number 1 mistake that artists make is
"writing in the studio". Sure the toys are here, but this
is a very costly practice. Get as much of the composition and the arrangement
finished as you can, before you go near a studio. (Pre-production time
in your own living-room is usually free) A session will always go more
smoothly if nobody says, "what do you think we should do here?"
- Bring some CDs. If you have a specific sound from a CD you
already have in mind, bring it to play for the engineer. This will help
establish a common frame of reference, which is far more meaningful
than just saying "kinda grunge-ish" or "brown-sounding".
- Practice-practice-practice. The more rehearsed you are, the
easier it will be to relax and record some great music, with fewer wasted
takes.
- Check your ego at the door. This is really hard for most people
(even me!). If you're funding the session, it will ultimately go your
way anyway; but be open to other's ideas and talents. To achieve synergy
everyone must keep an open mind. This also leads to a "better informed"
decision making process.
- Listen to the suggestions of the production engineer. Seriously.
Our production staff has one goal in mind- to make the best sounding
project possible in the time/budget allowed. They will probably be more
objective about your sound than you can be, because of a professional
detachment and "overall" viewpoint. They also probably have
a lot more studio experience than you do! You wouldn't think I'd have
to point that out, but it's true. If a producer suggests doing something
a certain way, give it some thought- why not take advantage of mistakes
that other people have paid for!
- Check you gear. Don't wait until the night before the session
to change guitar strings. (You'll never stabilize them in time). Does
your tuner work? Is there a buzz in that low E? Can your equipment be
grounded properly? Do you have proper cases for everything? How's the
intonation on that '63 Strat? Make sure everything is in top working
order.
- Pack extras. Extra everything. Strings, picks, rosin, batteries,
straps, tubes, guitars, Kleenex, cab fare, drum sticks, pad and paper,
mallets, bow, 9-volt transformers, powerbars, extension cords and stands.
Pack extra copies of sheet music (if used) and extra lyric sheets. Experienced
musicians also usually pack things you'd never think of like a towel,
fridge magnets (to hold sheet music/lyrics to metal stands) duct-tape,
plastic cup/coffee mug or even an extra T-shirt.
- Organize the setup. Unpack your gear, set it up, and then help
other band members who need more time get set up. (i.e. Help the drummer
or keyboardist move their stuff, or set up stands so they can just place
them in position. -this saves a lot of time).
- Ask how you can help the engineer. The easier it is for the
engineer to get you set up and miked, the quicker you can move on to
the next step. If the engineer just needs you to be out of the way for
a minute, oblige!
- Be quiet during sound check. This goes a lot smoother without
a lot of discussion. The less the engineer has to compete with (both
in sounds and distractions) the faster you'll be ready to record.
- Stop means stop. When the producer/engineer signals you to
stop playing (or if you hear the music stop in your headphones) quit
playing! Amateurs waste all kinds of time "messing about"
with their instruments between takes.
- Record first, mix later. During the recording process, the
first concern of the engineer is to ensure a clean recording to tape
(or hard disc, ADAT etc). This is really not the time to be fussing
over EQ or effects. Get the tracks in as cleanly as possible. Puttering
around and "futzing" comes late in the mixing process. The
only exception to this is if feedback is occurring, or if a vocalist
can't differentiate themselves in their headphones. (I usually add a
bit of hall reverb to the vocalists headphone mix so that it's easier
for them to hear themselves in context.)
- Bring a book. Find some way to amuse yourself if asked to "leave
the studio but don't go too far away". For example, some singers
get really self-conscious when recording a vocal track; so much so that
they may ask the other band members to clear out. Most (but not all)
studios have some form of entertainment outside the studio for musicians
to enjoy while not recording. (i.e. Video games, pool table, VHS/DVD
library, etc.). Bring a book or "Gameboy" in case the studio
has no entertainment facilities.
- Smoking. Always check with the engineer first before lighting
up. Most studios do not tolerate smoking of any kind. In the event that
they do allow smoking, professional studio staff will never light up
without the artist's permission.
- Drugs and alcohol. Again, ask if there is a policy in place
before indulging. On occasion, I've found that a drink (1-2oz max.)
may help a vocalist relax enough to get the job done. Goblin-Cross Records
does not condone or endorse the use of any alcohol or recreational pharmaceuticals
of any kind.
NOTE: We don't have any "narcs" on staff,
either! Snoochie-booches!!
- Eat. Drink. Pack a lunch. It saves you money, and you won't
have to wander too far away to eat it. Professionals are conscious of
things like blood sugar. During long sessions, people who haven't eaten
anything will start to get grouchy. Nobody needs to deal with bitchy
musicians (or even staff!) during a long session!
- Remember, studio staff are people too. I've seen a lot of engineers
get "tag-teamed" by bands, thinking this was a more efficient
use of studio time. Everybody needs a break. The engineer probably has
more on his mind regarding your project than you realize. If you overwork
the engineer, your project will probably suffer. Mental and hearing
fatigues are very real. Take frequent (if short) breaks. Walk around.
Breathe.
- Avoid marathons. Sometimes you don't have a choice, but unless
you're raising funds for a charity, it's usually a BAD IDEA. My longest
run non-stop in the producer's chair was 53 hours. THIS IS A REALLY
STUPID THING TO DO. (I realize that now, of course). In really long
sessions you eventually reach a point of "diminishing returns".
The energy isn't there. The focus is gone. People get sloppy; stupid
mistakes and expensive accidents begin to occur. For what? A rested
and alert group of Pros will accomplish more in 6 hours than a bunch
of "burn-outs" will in 20, every time. Try to book sessions
no more than 8-12 hours in length.
- Medications. Remember that life doesn't stop just because you're
in the studio. If you are on any timed medications, remember to bring
and take them. If you are diabetic remember your sugar-meter and enough
insulin. If you are asthmatic, bring a puffer. Depending on your condition,
a lengthy session could have a serious impact on your health!
- Join TAXI. If you're really serious about getting out there
and breaking into the big-time, nothing will improve your chances like
TAXI. TAXI is an independent A&R firm, which helps you get your
music to the industry people looking for it. Members can respond to
industry listings in every genre for writers, composers, bands, singer/songwriters,
development contracts, publishing contracts and even recording contracts
with major labels! (visit the "Links" area, and click on "TAXI"
for more information)
NOTE: TAXI is not paying me to say this, I genuinely
think they're really cool!
©2002, Ross Goodfellow
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