recording techniq...a cheatsheet for musicians

T

The549

a hack
CONCEPTS/TECHNIQUES THAT YOU SHOULD UNDERSTAND AND UTILIZE TO GET THE MOST OUT OF YOUR RECORDINGS:

I'd love to collate a half page (length chosen for musicians' attention spans) or a big lettering full page with bullets on very basic concepts for any band/person who is going into the studio for the first time. I'm thinking target that 80% or so below the professional musician...down to gutter punk high schoolers.

The biggest realization for me on drums is was my newer cleaner style of playing....the hats more often closed tight, also give me great dynamics.

post what would be a bullet you would find necessary
 
- A realistic expectation of what you can achieve given the set-up (if its a bedroom recording, for example)

- Lots of practice before you even get to the studio. It is possible to track an albums worth in a day. Otherwise you are paying lots of studio money to spend time doing stuff you could have prepared beforehand

- Bring a few litres of Dr Pepper (maybe thats just me :))
 
You forgot

* plenty of practice

KNOW the material inside out before going in.. Have everyone in the band play their parts alone with everyone else listening. Otherwise you'll be in the studio saying "Oh, you play THAT chord?" and "You're strumming THAT pattern??" and "I thought that was supposed to be double picked" etc.. Wasting time writing and arranging in the studio is VERY expensive. In the studio you hear everything. Everyone THINKS they know their shit until it's time to track it out.

Oh yeah, and

* dont smoke out the AE until AFTER the session is over.. Live and learn,
 
- An understanding that it takes a whole hell of a lot more than a page or two of simplistic bullet points for ADHD short-cutters to get even close to getting the most out of one's recordings, and that just because anybody can buy some equipment doesn't mean that anybody can actually DO it.

G.
 
- if you are tracking the drum kit first make damn sure that the tempo is good for each song before the kit and the mics are broke down. One way to check is have your bass player or guitar player play along with the drum tracks after they are recorded. You dont want start recording your guitar tracks and find out "crap joey was flying through the chorus and I cant keep up" . I was in that very spot and had to play take after take to match the drummers tempo.

- I would even go as far to do a pre production at home with a cheap multitrack recorder or a guy that has the equipment but may not be great and will do it for free.
 
* Get a good monitoring chain in a reasonably well-treated space.

* Learn to listen.

* You're probably tracking too hot - Don't do that.

Done.
 
SouthSIDE Glen said:
- An understanding that it takes a whole hell of a lot more than a page or two of simplistic bullet points for ADHD short-cutters to get even close to getting the most out of one's recordings, and that just because anybody can buy some equipment doesn't mean that anybody can actually DO it.

G.
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Good one...
Also as has been discussed here there are *reasons* why most home recordings still don't have the sparkle etc...the problem isn't the people who DO understand, is it? It's much more rewarding recording with people who are similarly driven to get a good sound because they know it takes effort at all to achieve it. I have seen a lot of musicians who while talented just don't have that recording mindset, that could benefit quickly from a few short tips.
 
Don't bring Beer to the studio. As soon as a band turns up for a days session and the first question is "Where is the Fridge for the beer"? I know it's going to be a long day.

Cheers

Alan.
 
gcapel said:
- if you are tracking the drum kit first make damn sure that the tempo is good for each song before the kit and the mics are broke down. One way to check is have your bass player or guitar player play along with the drum tracks after they are recorded. You dont want start recording your guitar tracks and find out "crap joey was flying through the chorus and I cant keep up" . I was in that very spot and had to play take after take to match the drummers tempo.

been there,done that.the other guitarist was downpicking everything & i was alternating.i had to basically relearn how to play 5 songs doing a lot more downpicking & i suck at fast downpicking.got a case of tendonitis in the shoulder from that one.

- I would even go as far to do a pre production at home with a cheap multitrack recorder or a guy that has the equipment but may not be great and will do it for free.
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it's a good idea to try and record things yourself first so you work out the bugs like previously mentioned.then when you're ready,go to the professional studio.
 
Leave the posse home. Limit the number of people to band members. The fewer distractions, the better your chances of getting better recordings with fewer takes.

Remember recording volume and concert volume are not always the same thing.

Plan ahead. Work out details and arraingments in advance, this saves both time and confussion in the studio.
 
witzendoz said:
Don't bring Beer to the studio. As soon as a band turns up for a days session and the first question is "Where is the Fridge for the beer"? I know it's going to be a long day.

Cheers

Alan.
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Tape Op recently had a good interview with a studio that had a bar in house that opened up after the day was done...partly as an incentive too.
 
legionserial said:
Don't scoop the mids.
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That's my latest lesson.

I recently remastered my first evar multitrack recording and am astounded at how much I cranked some of the DAW EQ and multiband compression and more....yikes! :eek: From being tracked badly to mixed like tonka toys...:rolleyes: Reverb like the stoner guitarist wanted that turned the shitty recording into an even worse echo filled terribleness.

I unscooped a lot, made some much finer ribbon response looking eq curves through much better monitors and seriously improved the mix.

What about how to deal with bands who argue over volume levels? Especially when they're good enough to be tough to fool while they're watching you mix?
 
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