When to break the rules….

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dudernut

dudernut

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Hey everyone!

I've gotten to a point in my recording where I am pretty capable of capturing a clear and decent representation of a song. I am finishing up my acoustic treatment this week with as much homemade trapping I can fit. And now that I can get a nice crisp recording, I am starting to wonder when to deviate for effect. Many of the recordings I truly love have a very raw feel to them, even though sometimes I know it was recorded in a commercial studio. I know there is not going to be one single answer to this question, I just want people to throw in their two cents so I can gain a better understanding of when and where to intentionally "break the rules" for proper recording technique. When do YOU decide not to go as hi-fi as you could or as you usually do? I posted a couple examples of what I'm talking about below. And I'm not necessarily trying to emulate the sound of these songs, but it gives a starting point. From listening myself, I've got a few hunches. For one, less drum mics. It sounds like there's a lot of gain on the vocals, often using plate reverb or slapback delays.

https://www.youtube.com/watch?v=BFo-Fp2eJWQ

https://www.youtube.com/watch?v=xKURBmeWOO8

https://www.youtube.com/watch?v=vw5h_1YQy_0
 
I'd say allow the song to lead you first and foremost. Rather than thinking "which lo-fi sounds can impose on this record" come at it from the perspective of trying to figure out what the song's sonic fingerprint should be and then try to make it a reality. Some records need to sound dirty and unpolished, and some need to sound crystal clear and pristine. The occasions I've been happiest with throwing out the rulebook have been things like using a horrendously noisy cassette dictaphone to record an acoustic guitar take for a very intimate song or pushing gear beyond its usual operating level for aggression/distortion, and every time it's worked the best has been when I've heard a sound in my head first then figured out how to make it happen to bring the song to life. That's not to say there isn't great mileage in just experimenting either (I have a great sample library of cymbals recorded down an old drainpipe!). In terms of techniques try lo fi recording media, acoustic filters (drainpipes, weird rooms etc), clipping the living hell out of something in the chain, room mics, mono micing on things like drums, and of course compression (IMO the most potent tool available to an engineer). But I suppose that's my two cents, realise songs rather than techniques and everything will start falling into place!
 
Thanks for the reply. Yes, I definitely don't want to take a lo-fi approach on every recording. But, I play in a rock band and work with others that could benefit from the occasional rough touch. You definitely threw out some good ideas to consider. I really like the idea of using a cassette recorder for an intimate acoustic song…consider me in the market for a simple tape recorder!
 
When the song old (like your examples) you can give it an old sound
it's also a branding thing like Lana Del Ray used it to brand herself
Those songs actually won't work in a more polished production...

Anyway, if a band comes with songs like tha it'll be easier to tune to their sound, if wanna build a song like that I would suggest building the demo with the "old sound"

BTW, it's start with the small drums sound... easier to achive it from there
 
Let your melody/lyrics/message dictate the band arrangement. Not the other way around. Don't put the cart before the horse. (band track before the lyrical/melodic message.) (I know. Tough choices) Ask., what do you want your audience to focus most upon. The guitars or the lyrical message? Your audio examples show that you're challenged by choosing priority focal points within the sequence of the songs. It can take years and years to get these parameters under control. But you have taken the proper step toward learning how to do this on these threads. If this is about breaking rules, you can't break the rules if you don't know what they are.
Cheers and good luck Dudernut.
 
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Let your melody/lyrics/message dictate the band arrangement. Not the other way around. Don't put the cart before the horse. (band track before the lyrical/melodic message.) (I know. Tough choices) Ask., what do you want your audience to focus most upon. The guitars or the lyrical message? Your audio examples show that you're challenged by choosing priority focal points within the sequence of the songs. It can take years and years to get these parameters under control. But you have taken the proper step toward learning how to do this on these threads.
Cheers and good luck Dudernut.
 
bmwerx said:
Let your melody/lyrics/message dictate the band arrangement. Not the other way around. Don't put the cart before the horse. (band track before the lyrical/melodic message.) (I know. Tough choices) Ask., what do you want your audience to focus most upon. The guitars or the lyrical message? Your audio examples show that you're challenged by choosing priority focal points within the sequence of the songs. It can take years and years to get these parameters under control. But you have taken the proper step toward learning how to do this on these threads.
Cheers and good luck Dudernut.
Click to expand...

I totally get that a lo-fi will not do justice for every song. In fact, my problem right now is that I have trouble bringing myself to get anything less than the highest possible quality I am capable of, even if I can tell the song could use a little bit of grit. Many of the projects I work on are "grungy" and a rough approach may help get the point across better than a pristine recording. I guess I am really looking for an open discussion to determine when others feel inclined to use a technique to rough the song up and what that technique might be. I realize there's no hard-fast answer, and I still plan to continue learning about proper recording techniques and how to get clear and powerful mixes, but I also want to have a few tricks up my sleeve to give songs a more garage feel when appropriate.
 
I think what you crave the most is the colour of some oldschool preamps, mics and compressors, they are adding warmth but also a bit of special depth and dirt to the sound.

You'd be amazed at how much a valve compressor can change the tone of something for example, I'm talking about hardware though, not plug-ins, which is what a lot of the pro studios are using that haven't gone into liquidation yet.
 
Btyre2013 said:
I think what you crave the most is the colour of some oldschool preamps, mics and compressors, they are adding warmth but also a bit of special depth and dirt to the sound.

You'd be amazed at how much a valve compressor can change the tone of something for example, I'm talking about hardware though, not plug-ins, which is what a lot of the pro studios are using that haven't gone into liquidation yet.
Click to expand...

I do like the idea of having some vintage hardware on hand for certain situations, but that process will have to be slow and gradual as I learn more about what will actually be of benefit, rather than ending up with a bunch of gear with lots of noise and no character. Any suggestions on a valve compressor?
 
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