recording techniq...a cheatsheet for musicians

[SouthSIDE Glen]

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?

Somebody's gotta take the official role of producer, and this should be decided at the very start of the project. Whether that's you, one of the band members, their manager or some other third party doesn't matter, but it's gotta be someone everybody agrees upon as someone they'll trust to a) have ears, b) be fair and c) have a sonic vision of how the project should sound, and D) the knowledge and vocabulary to be able to communicate to both you and the band in proper technical terms you'll both understand. ("I think maybe the drums sound a little 'ootzy'." just doesn't cut it and only eats up a ton of studio time.)

Anyway, when everybody agrees that one person is in charge of deciding "the sound" of the recording, those arguments will not last too long. Especially if only you and the manager and producer are allowed in on the mixing sessions (which is how it should be anyway).

If such stupid arguments do threaten to last long in-studio, all you gotta say is,

"The longer you guys argue, the more studio time you're eating up and the more it's costing you. I can sit here all night and watch you guys argue if you want, it's all dollar signs for me. But I suggest that you deny me that pleasure and go work it out on your own time, off my clock, and when you get it all figured out, come on back and we'll get this pony running."

G.

 

[dean1964]

I find it extremely interesting that the majority of the responses ( all good btw) have nothing to do with "recording techniques." The best recordings I have made so far have been ones were the band was either insanely prepared or had an excellent work ethic. Attitude and work ethic are paramount to me.

One of my mentors said that if all else was in place, i.e. the band had done their job, then your job is to basically to not f@*k it up.

On the other hand, I have often considered making a cheat sheet of techniques because I always say something like "Man i wish I had tried X" but just did not think about it.

 

[The549]

...If such stupid arguments do threaten to last long in-studio, all you gotta say is,

"The longer you guys argue, the more studio time you're eating up and the more it's costing you. I can sit here all night and watch you guys argue if you want, it's all dollar signs for me. But I suggest that you deny me that pleasure and go work it out on your own time, off my clock, and when you get it all figured out, come on back and we'll get this pony running."

G.

The decision of producer ain't one I'll miss again. At this point however a proper studio charging for time won't happen for a year, unless I get hooked up by the end of this summer. Right now it's just free recordings when I have time (engineering student). Just did a apex 205 mod...golly talk about fun.

To clarify....the mindset that I've had a problem with is "fix it in the mix", mix magic, etc etc...some of the people i work with aren't pros and don't have real studio time.

 

[SouthSIDE Glen]

To clarify....the mindset that I've had a problem with is "fix it in the mix", mix magic, etc etc...some of the people i work with aren't pros and don't have real studio time.

All the more reason why one person has to take the producer reins when it comes to who's in charge of *the process*. I'm sure you've heard the phrase, "Too many cooks in the kitchen." Well, too many engineers in the studio is just as bad.

In a pro bono situation that's a free for all, you have to make the decision to either put up with it or not. If you decide the put up with it, then there's your answer. If not, then that means you gotta lay down some rules yourself. The four that I'd lay down right from the start are:

1.) No one else in the studio during mixing, unless you guys have a producer; in which case he will be the only one allowed.

2.) Don't expect the mix to sound like it does when you're on stage; *Your* instrument is *not* going to be louder than the rest, unless or until the mix calls for it.

3.) For free, I'll give you guys a mix and - if necessary - a single re-mix after you review the original mix. You want anything more than that, you pay for it.

4.) If you think you can do a better job of mixing than I can, then you go ahead and do it yourself and don't ask me to do it for you.

I don't understand why so many beginners are so afraid that they're going to upset someone, especially if they're doing the freakin' band a favor by giving them a free mix job. When you have four band members giving you a hard time and telling you to mixing it four different ways, they are the ones upsetting you, not vice versa. Tell them to stop looking their gift horse in the mouth. You have every right in the world to get the facts straight with them, and will never earn any respect from them if you don't.

That doesn't mean acting like an assh*le, of course. You just be truthful and reason with them, draw the lines, and smile when you do it.

G.

 

[Rokket]

Especially when they're good enough to be tough to fool while they're watching you mix?

Give 'em a faders only preview and then send them home. Mixing shouldn't be done the day of tracking anyhow, your ears are dead.

 

[Rokket]

I find it extremely interesting that the majority of the responses ( all good btw) have nothing to do with "recording techniques." The best recordings I have made so far have been ones were the band was either insanely prepared or had an excellent work ethic. Attitude and work ethic are paramount to me.

One of my mentors said that if all else was in place, i.e. the band had done their job, then your job is to basically to not f@*k it up.

On the other hand, I have often considered making a cheat sheet of techniques because I always say something like "Man i wish I had tried X" but just did not think about it.

With very few exceptions, each tracking experience has always been different for me. I have used tracking sheets so that I can reproduce the set up if I have to go back and retrack, however. One time I didn't, and since I couldn't remember the amp settings or where I had placed the mic, I went for what I thought I did. The overall tone of the track was different, but it was BETTER than the original. So it was a good mistake. Those exist too...