Going into a professional studio, first time, advice?

thispleasesme

New member
Hey everyone-

In about three days, my group and I are set to go into a studio in Atlanta with our producer Jeff Tomei (smashing pumpkins, jerry cantrell, matchbox twenty) to record our 5 song studio debut EP.

We've been doing the home recording thing for about four years, so the whole concept of recording is no big deal, but I figured I'd ask..

Anyone done this before? what sort of advice can you give me before we get in there, and while we're in there. I'm also the vocalist, so if you have any specific tips for me (what I should be doing/not be doing/etc.) would be a big help. Thanks!
 
How To Make Better Tapes In Any Recording Studio

(Some Tips That Really Work)

The more everyone understands what is expected in the studio, the better the tape will turn out. Be aware that some musicians get uptight before a session - it can be a very stressful time. Just remember it's a demo - a snapshot in time of where you are right now. Studios are pretty cold places. Because we're on the other side of a glass wall, it can sometimes feel like we're sitting in judgment of your music - we aren't. The glass prevents control room sounds from leaking into the studio mikes. We have our own problems to take care of. If we hear a mistake, we'll let you know, but we aren't sitting there waiting for you to make mistakes - we make enough mistakes of our own. We're here to help you get great sound - not to judge your music or your playing.

Tip# 1
Rehearse only the songs that you'll be recording for at least 2 days before the session. For clean starts, use an 8 beat count-off instead of a 4 beat count-off, with the last two beats silent. (Example: 1 2 3 4, 1 2 - - )

Tip# 2
Practice the songs straight through, including intros, endings, and dynamics. Work out all your solos before you get to the studio.

Tip# 3
If needed, put on new strings and drum heads at least 2 days before the session. Bring extra batteries, strings, and cables, just in case.

Tip# 4
Get a good night's sleep and make sure everyone is in a good mood before the session. Don't party. A word about drugs and drinking; Some people play better when they're smashed, some don't. Check with the rest of the group to see which category you fit into. Bring friends if you feel more comfortable playing to an audience.

Tip# 5
Start the songs cleanly and wait till the tape is rolling before turning up your volume (unless we've gated your instrument). Don't talk, play, or move for a count of eight after you finish a take. Wait for the last notes to die away completely. Use your volume knob to fade out at the end of a song.

Tip# 6
Don't jam or play between takes or songs. Either tune up or sit quietly. Goofing off just wastes everybody's time.

Tip# 7
You may have to change your normal amp settings to get a better sound on tape. Sometimes your stage settings don't work in the studio and we may have to experiment to get your sound back - even to the point of switching amps or going directly into the board, or through the SansAmp.

Tip# 8
If you screw up, don't panic, but point it out. Most of the time, we can punch it in later. If one song isn't happening, forget that song and move on to another song, or we'll take a short break. Don't bother with "I'm sorry" or "I'll get it this time." You're just putting more pressure on yourself. Screwups happen. Just relax and try it again. Recording is very stressful - don't make it any harder on yourself. If you feel yourself getting tense about a song, take a break. A break after every couple of songs can help a lot. Be open to suggestions and changes. "Screw-ups" sometimes turn out great. Maybe you didn't hit the note you wanted, but the note you hit may be better.

Tip# 9
After the final session, everybody usually wants a rough mix. Go ahead and enjoy it that night and the next day, then put it away. Get away from the music for a while, or you won't be able to hear clearly when you mix. Everybody should take a 2 or 3 day break (or longer) before the mixdown session to rest their ears. Listen to groups you like, and try to get a feel for their sound and their mixes.

Tip# 10
Before the mixdown session, play the rough cassette (with or without the band there) and make notes on every song. Is it similar in sound to groups you like? Try to pinpoint the differences. Need more bottom on the kick? Less reverb on the vocal? Vocals too loud or soft? More edge on the bass? Move the lead guitar more to the left or right? Before you start the mixdown, we'll go over your notes and try to get the sound you want.

Tip# 11
When you're mixing down, you want a finished product that's as good as any pre-recorded material. Listen to the whole song, not just your part.

That's about it. Above all, have fun. Remember, your attitude will come across on the finished product.
 
We have a single sheet of paper tacked to the control room wall. It says just the headlines below:

HONOR THE SONG

WHERE'S THE "HOOK"?

GET TO THE "HOOK" IN UNDER ONE MINUTE

IS IT "RADIO-FRIENDLY"?

IS IT TOO LONG?

DOES IT MAKE SENSE?

IS IT BORING?

IS IT SOUP?

FEELING IS MORE IMPORTANT THAN TECHNIQUE

CAN YOU DO IT BETTER OR JUST DIFFERENT?

A "MISTAKE" IS OBVIOUS TO EVERYBODY

DON'T OVER-PRODUCE

DON'T LOSE THE FEEL

PERFECT DOESN'T ALWAYS MEAN GOOD

IF YOU OVERPOLISH, YOU MAY LOSE THE EDGES

What it means:

HONOR THE SONG
The song will tell you exactly what it wants - if you're open enough to listen.

WHERE'S THE "HOOK"?
That's the part of the song you mostly remember, either a catchy phrase, or melody, or both. It can even be an unusual instrument. Most hit songs have a "hook". All time great lyric hook? Probably Steppenwolf's "Born To Be Wild". All time great melody hook? Hendrix "Purple Haze".

GET TO THE "HOOK" IN UNDER ONE MINUTE
If you want to be a star, don't waste your time setting up a long, complicated intro to a song. Get to the heart of the song quickly. Consider the examples listed above. When you're doing your stage show, then you can do the long version. A record executive will give you about 12 seconds of his time. If you spend two minutes just getting into the song, you haven't got a chance.

IS IT "RADIO-FRIENDLY"?
Is it the kind of music you're likely to hear on the radio? If a radio station won't touch it, chances are a record exec won't either.

IS IT TOO LONG?
Again, leave the long version for the stage show. Tell your story in 3 to 3½ minutes. (This isn't a hard and fast rule, but if you're gonna take 6 minutes to say what you want to say, it better be important stuff that people want to hear.)

DOES IT MAKE SENSE?
Is your lyric really tight? Are you just throwing in lines to stretch the song? You've got 3 to 3½ minutes to tell your story - make every second count.

IS IT BORING?
Watch your audience - if they start fidgeting halfway through the song, you're losing them. Either shorten the song or add more excitement.

IS IT SOUP?
Too often we all tend to go past the point where a song is finished. People like to add extra parts in the studio, simply because they can. Somebody has to say the song is done at some point.

FEELING IS MORE IMPORTANT THAN TECHNIQUE
Nobody thinks Smashing Pumpkins are the best musicians on the planet and they'll never win a Grammy for "Instrumental of the Year". Unless you're Dream Theater, go for feeling.

CAN YOU DO IT BETTER OR JUST DIFFERENT?
Guitar players, and some singers, are funny sometimes. If they improvise, they want to lay down 20 tracks and choose the best parts. That's OK if you have unlimited time and money, but most of the time, any good take will work fine.

A "MISTAKE" IS OBVIOUS TO EVERYBODY
During a session, somebody will sometimes hit a note they didn't mean to hit. Is it a mistake? Yes, no, maybe, or maybe not. If the song is in E minor and the guitar player hits an E major, it's probably a mistake, but if the bass player hits a B instead of an E, it may not be a "mistake" - it may make the song better.

DON'T OVER-PRODUCE
If you have a small group (Bass, Guitar, Drums, and Vocals), you do not need 6 guitar tracks. Two similar rhythm guitar tracks (for fattening) and a lead track are more than enough. Most engineers (myself included) are frustrated producers. When you have all those tracks available, the temptation is to "use 'em all."

DON'T LOSE THE FEEL
The basic "groove" of the song is important. If you cover up the groove by adding more and more stuff, you stand a serious chance of messing up the song. If the groove isn't there, all the extra things you add won't help.

PERFECT DOESN'T ALWAYS MEAN GOOD
Nirvana, Smashing Pumpkins, and Green Days proved that you don't have to be an Eric Clapton to have a hit record. Do what you do best. If the lyric is the most important thing in your songs, you don't need a killer guitar solo (or any solo for that matter).

IF YOU OVERPOLISH, YOU MAY LOSE THE EDGES
Sometimes a group will work for weeks in the studio, eliminating every fret rattle, adjusting the volume of each note in a solo until it's perfectly balanced, or actually punching in every line of the vocal, line by line. Sometimes it's better, but not usually. Most often, the life goes out of the song and you lose the emotional impact in the quest for perfection.

If the group is solid in the studio, it comes through on the tape and it's fun. If it's overpolished, it comes off sounding cold and sterile. "The operation was a success, but the patient died."
 
great advice.... I'd also say that if your drummer is going to be playing to a click make sure he is practicing with one constantly until then so he's used to it. oh and as for you sir. On days you have to sing, no milk or milk products. Drink room temp water in the studio, not cold. And drink tons of water outside of the studio.
 
All very good advice indeed!!

One very important thing that I've learned (from working on both sides of the glass) Make nice with the engineer!!!! While you have a producer, who will conduct most of the dialog with the engineer - do whatever you can to stay on the engineer's good side.

Don't leave clutter in his studio, don't smoke/drink without prior approval. Don't make noise when the red light isn't on. If you need to ask questions, make suggestions, etc - try to find a time where he/she isn't in the middle of ten other things.

Many, perhaps most (OK almost all) engineers come across as rather gruff, grumpy, folk. However, in part this is becuase they are very focused and under the gun to capture the best sound and in part because they have dealt with every possible type of rock & roll superstar wannabe.

If you show the engineer respect (both for his/her skills and the room) and if you act like a professional - as a rule the engineer will respond accordingly.

While the producer is a big part of your final product, the engineer can make or break the session.
 
Mikeh beat me to it! Yeah, definitely let the engineer have his aural space. I ran a session recently where the chatter in the control room was so bad I had to ask people to shut up or get out. Good studios will have a lounge or something where you can hang out when you're not recording.

Also, read the Daily Adventures of Mixerman.
 
I'd like to add the fact that you shouldn't let any friends or family into these sessions, especially not the tracking sessions. I've found that some, if not many musicians tend to tighten up quicker when there are more people in the studio than there needs to be. If you want a second opinion, let them hear the rough mixes when you take them home. (personally, when I'm on the other side of the fence, I perform better with a couple of hecklers in the control room to egg me on)

Also, to add to Harveys Mixdown tips, and I know I'm not alone on this one,
If you can, try not to bring the whole band in during the mixdown, cause we all know what ends up happening :mad: Instead appoint one or two members if possible. IMHO, it just benefits in the well being of the mix, and the producer of course :)
 
Read "the Mixerman Diaries." And watch that Saturday Night Live skit with Christopher Walkin about the Cowbell.

On the technical side, be very anal about stuff. Make sure your instrument is in perfect working order, it's been setup recently, strings or heads changed, etc. And be obsessive about tuning -- tune early and often. Don't be afraid to stop or hold up the session if you have to tune. If people look at you impatiently, tell them to chill out (or to f^ck off :D ).

Guitarists: Your amp should sound stupendous. If it doesn't, then use one that does. Consult your engineer or producer on it. Make sure it suits the style of the record, etc.

That's about all I can think of right now.
 
When u are recording, actually sitting in the control room while playing is better in my opinion as headphones can be annoying. It is easier to hear everything from studio monotors rather than hot sticky sweaty headphones. (this is if you are single tracking everything and obviously the drummer or an instrument that doesnt go through an amp cant sit in the control room) Have the amp in one room with a LARGE cable running into the control room to your instrument. Also you will hear what your instrument will sound like more acurately.
 
My advice-


The legal side:
Be suspicious of contracts. Alot of studios will make you beleive certain things just to get you to fill up studio time in thier studio.

If something dosn't smell right, it's probably because it's not good to eat, anyway.


The artistic side-

Just be prepared. Any preperations you can make before the date will save you money and time. It also makes the process run smoother for everyone in the studio.

Lots of water for the throat and for the joints in the body. Just like a live show. Invest in some new drum heads, at least 2 packs of strings and plenty of picks...if thats what you're using. The better you can relate your message to the producer/enginner, the better your ideas will shine on tape.




On a side note, and I don't normally do this:

Don't really worry yourself about the content of your songs. Whatever you did was good enough to get you that far. I think thats the real problem with music these days. You'll always have people feeding you some sort of bullshit. "Is it too long, does it agree with other people, can it be played on air". Who cares?. If it really gets to the point that it needs to be played on the radio, you can always cut a radio ready version. Different producers will have different beliefs.

Learn to be liberal. Today's society is harder to impress, especially with all those short attention spans out there.

The moral to the story is, the music is yours and only yours. Everyone you choose to listen to will have some sort of impact on your trajectory. Go with your instincts befor you decide to take in anything else.
 
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Harvey pretty much nailed what I would say...Also the no outsiders/guests thing is a pretty good idea!You are a team..band together! Good luck :)
 
Again, thanks to everyone for the feedback.

In regards to the content of the songs, we're really excited to be working with the producer we've lined up.

The guy found us after catching a listen of our demo (home recorded) and made quite an offer. His persuit of us was flattering, at least. We're going to be spending the weekend (friday, saturday, sunday) tracking at the studio he's running and then monday, tuesday, wednesday, we'll mix and overdub.

Anyways, Not too sure where I was going with that, but I had to gloat just a bit. This is the first commercial studio experience I'm going to have, and furthermore this is the first time I don't have to worry about mic positioning, phase cancellation, not having good/enough pre's, etc.

Alright, that's all for now. So, does anyone have anything else for me?
 
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