would this make an engineers job harder?

[jugalo180]

if i had my instrumentals mixed down to one track at studio A, and later took that mix to studio B to record my vocals, would i make the job harder for the engineer to sit my vocals in the mix?

I know that there have been many collaborations done where an artist records in a studio then passes the recording to another artist who conveniently records in thier own studio of their choice, is do these artists usually get the tracks broken down, or does the engineer have to sit thier vocals in the mix?

would that make the mix less superior?

 

[corban]

If the mix is perfect there shouldn't be much of a problem, but it does have the possibility of making things tricky if the mix isn't exactly what the engineer would have wanted.

 

[chessrock]

While I don't necessarily advocate it, or view it as the ideal scenario ... if the music tracks are exactly the way you want them; mixed perfectly, etc. then there shouldn't be much problem. And it would be an easy session for the guys tracking your vocals. Like a live karaoke session, only recorded.

 

[SonicAlbert]

The final mix should be done with all the elements present in their individual tracks. It is definitely less than ideal to do a "final" mix of the backing tracks without the lead lines present, whether they be vocals or instrumentals.

However, it is frequently done that a rough mix of the backing tracks is made and sent off to another studio to record lead lines over it. Then, when all the tracks have been recorded, the final mix is completed.

 

[Massive Master]

Like a live karaoke session, only recorded.

That's the spooky part - When I'm mixing, I tend to get the vocals (or the general "lead" instrumentation) sounding exactly the way I want *first* then add other tracks, tailoring them to not step on the vocals.

If the mix sounds fine but "doesn't like" your vocal, then the vocal tracks are going to have to be compromised to fit in the mix instead of the other way around.

 

[mshilarious]

if i had my instrumentals mixed down to one track at studio A, and later took that mix to studio B to record my vocals, would i make the job harder for the engineer to sit my vocals in the mix?

Well, all the mid-period Beach Boys stuff was recorded that way. 'Course those were some kick-ass engineers using great gear recording the Beach Boys performing Pet Sounds

 

[SouthSIDE Glen]

It would be much easier for the engineer in Studio B if he got the raw tracks and maybe the project files and not just a mixdown of the files. It's much harder to sit vocals in a mix if the mix has already been locked up in a mixdown.

It does also depend upon the type of music. If it's something where the instruments are little more than backing for the vocalist (e.g. Frank Sinatra, Mariah Carey, Elvis Presley, anybody from American I-Dull), then it makes more sense to mix the instruments seperately. But if it's an integrated arrangement where the vocalist is one of the instruments in the band, then it's much preferable to mix them together.

G.

 

[jugalo180]

wow, thanks everyone for submitting all of the great feedback! since pretty much everyone in their own way stated that it would be better to have vocals mixed with the other instruments and not into the other instruments, that's the road i will take.

what are some tips for an artist to help the recording session run smoothly for both the artist and the engineer?

are there any tips for an artist to get the most for their money out of a recording session?

from experience in recording, is there a difference in the recordings done by artists who write on the fly and read from the paper compared to an artist who has rememberized the song then comes to the studio to record?

 

[SouthSIDE Glen]

are there any tips for an artist to get the most for their money out of a recording session?

Come prepared. From knowing and having practiced the material inside-out to getting plenty of rest the night before to (if applicable) having your instrument freshly prepped and tuned. Treat it like a live performance in one respect: just as in a live performance you gotta be ready to go without a net, treat your studio time the same way (even though technically you have a net called "re-takes".)

While it is often the case where re-takes and re-writes happen in the studio, unless you got the budget of Bruce Springsteen, include that in your game plan only as a possibility if the situation really calls for it on the spot. If you're hit over the head by killer inspiration or discover halfway through a song that sonething you did plan just doesn't work, then if you have the budget, call an audible. Otherwise, remember that studio time is expensive and the more homework you can complete and the more wrinkles you can iron out before you get in there, the more efficiently both you and the engineer can use the time you have and the better the results at the lower cost.

G.

 

[SonicAlbert]

are there any tips for an artist to get the most for their money out of a recording session?

from experience in recording, is there a difference in the recordings done by artists who write on the fly and read from the paper compared to an artist who has rememberized the song then comes to the studio to record?

SouthSIDE Glen gave you some excellent advice.

As he said, come prepared. Know your material. Practice your part until you know it cold *before* you step into the studio.

If you have the music and/or lyrics written down, make a copy for the engineer. That will allow the engineer to make notes as you go along. Like suggestions for which takes to use for which parts of the song.

Figure out the order you want to record the songs. Have a copy of that playlist for the engineer too. Of course, you may want to discuss the order with the engineer before starting, but at least come in with a plan in mind.

Having these materials ready will show that you are prepared and serious about what you are doing. The engineer may not use them, but at least they have them at their disposal if they want.

As far as recording on the fly and coming up with material on the spot, I have a similar reaction to others in this thread: that will get expensive fast. On this trip to the studio I think you should have everything well planned out. If you find you have time left at the end of the session, then use that as "free" time to just riff and do whatever you want to try out.

In other words, use *all* the time you've paid for. If you still have 20-30 minutes left on the clock, don't sit and bullshit with the guys in the control room, stay at the mic and keep going. Try out some new stuff then, after you've finished all the planned recording. I prepare for sessions very carefully, and as a result often have time at the end of a session to record additional music or do extra takes of something I did earlier in the session. It's good to have that luxury, so definitely get your game plan together.

I've recorded both from memory and from reading the music. I think you just need to do what is comfortable for you. No matter what, you should have your materials written down, even if you've memorized them. Then just have them handy if you want to go from memory.

Hope some of this helps.

 

[chessrock]

If the mix sounds fine but "doesn't like" your vocal, then the vocal tracks are going to have to be compromised to fit in the mix instead of the other way around.

Not necessarily.

The burdon merely shifts ... to the artist. By making such a decision regarding the order in which things are tracked and mixed, they have, in effect, made themselves the defacto producer of their own project. If the mix doesn't work or play well with the voice, however unforunate, it was a risk the artist chose to take as producer.

 

[7string]

One thing to remember, some artists only like certain things in the mix when he/she does the vocal track. They may only want to hear drums, bass and a rhythm guitar or a click track with bass and rhythm guitar, etc. Same goes for guitarists/keyboardists/bassists, etc., when laying down tracks. I've run across a lot of people that only want certain things in their ears when laying down tracks.

 

[mr.rich]

it would be tough for me to recieve some sort of 1 track mix of a tune and try and add some stuff and remix it then hope it sounds cohesive. not impossible but a recording could suffer from doin it. if you had to go to another place to add stuff just take your tracks and have the engineer to them.

being prepared is the most important thing to consider if youve got a limited budget. dunno how many times ive had a session that drug on because the band didnt know the material, decided to rewrite the material on the clock or due to a shitty practice room never knew that one musicians part or the lyrics sucked.