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Makers' Fast Forward e-Newsletter |
Recording
Tips
by Jason Ojalvo
You want your CD to sound perfect. You want fans to love it as much
as that record that's been their favorite since they were a teen.
To have the best recording experience and maximize the quality of
your recording, read on.
Setting goals. Envision what you
want to achieve through releasing your own CD. Sit down with your
bandmates or manager and establish realistic goals. Do you want a
CD just to sell at gigs? Do you want to use it as a demo to shop your
act to record labels? Do you just want to showcase your newest songs?
Do you want the CD distributed throughout the country? The world?
Maybe you want just 50 copies for family and friends? Your answers
to these questions will help determine your budget.
Budget. Start by deciding how
much you can spend on the entire project. Do you want to spend more
on the studio or the manufacturing? Of course the sound is important,
but if the package doesn't look professional and worthy of peoples
hard-earned cash, they won't buy it and start grooving to the sounds
inside. A general rule: the more you want to get out of your release,
the more you should invest in it. If you just want the CD to help
you earn a little extra money at gigs, you don't have to sell the
cattle ranch for a major-label-quality recording. Count on spending
about $1,000 or more per tune in the studio for radio-ready sound.
Playing live with no overdubs will obviously save some money, as will
synth-heavy songs which can be programmed at home.
How to find a studio. Your first step is to locate a
studio to record your band. Ask other groups where they recorded and
how it went. If you hear a great-sounding CD by a local act, try to
use the same studio, engineer, and producer. If you haven't found
an indie CD that pleases your ears, check your local yellow pages
or regional music magazine for studio ads. For a more thorough list,
try the Mix Plus regional directory ($14.95; call 1-800-233-9604)
for your area.
Many studios will help you produce your project. Communicate your
vision of the finished product to potential producers or engineers.
Do you want it polished like a classical CD, or gritty like the latest
offering from Seattle? Do you want an engineer who will try to change
your bands sound or just mimic a live performance? Do you want a hands-off
producer, or one who will make suggestions about song structure and
lyrics? If they can't give you some samples of their work to listen
to, ask to be referred to some of their past clients.
Decide if you want analog or digital, or a combination of both. Analog
is generally more expensive, but many artists prefer it for its warmth.
Ask studios what they offer and recommend.
Many studios will negotiate price. Don't be afraid to ask. Some studios
give discounts if you are booking a lot of time or are willing to
record during less popular hours (usually before 5 p.m. on weekdays).
If you are a very promising band, then a producer or studio owner
may be willing to take less cash in exchange for permission to use
the band in an advertising promotion or to get points if the album
gets picked up by a label. Be wary of the latter--it could be like
selling your soul if the band makes it big.
Preparing to record. When you're
recording in a studio, you generally pay by the hour, and the meter
is always running--it's a pricey spot for brushing up on your material.
Keep a lid on costs by knowing the material inside and out. Spontaneous
energy is one thing, but not knowing the verse-chorus transition is
another. Make sure all sequenced material is fully prepared and the
drummer is experienced at playing to a click track.
To iron out the kinks, record your band during gigs and pre-production
rehearsals. Even a simple cassette recording on a boom box may reveal
weak parts of songs. Borrow or rent a four- or eight-track for a more
accurate picture of how each song will sound in the studio. Your minds
eye may view a line as catchy or a solo as exciting, but your ears
may expose them as trite and bland. Better to discover this now than
in an $80-per-hour studio.
When booking blocks of time, schedule enough time to record each part
and try to stick to it. Count on (and budget in) unforeseen delays.
If you plan to have a four-song EP, prepare six songs just in case.
If you want to end up with ten songs, prepare fourteen. You never
know which songs will not sound strong on the final tape--a live favorite
may fall flat in the studio. When you're finished in the studio, you
may want to play the tape for some fans, local DJs, and music critics
to get their opinions on which songs work best.
Take care of your body before and during your recording sessions.
You want your voice and playing to be in top form, especially when
you are paying by the hour. So eat well, get enough sleep, and keep
your ears rested and clear. If your ears are ringing and youre tired
from last nights gig, it's probably not the best time to record.
Once you've found the best studio for your budget and whipped your
band into shape to make the most of the recording sessions. Here are
a few things to keep in mind once you hit the studio.
In the studio. Depending on whether
your studio has 16-, 24-, or 48-track capability, plan out how you'll
split them up. You don't want to fill up all the tracks before adding
that essential piano part.
Compare recording your instruments direct versus micing the amps.
You'll often want a mix of the two, depending on the instrument you're
recording. Hopefully your studio will have a variety of mics to choose
from and the engineer will understand the subtle differences between
them. Try each one yourself and decide.
Remember that you may want to consider double tracking some of the
parts. Vocals, especially, benefit from the fat sound this can provide.
Remember that the second (or third) part can be softer than the lead
track for a neat effect.
Create a comfortable, relaxed atmosphere for the band. That may mean
lowering the lights, lighting incense, or shooing away everyone not
involved in that take. If you don't feel comfortable in the studio,
it will come through on tape.
Get the sound you want while recording. Fixing it in the mix takes
more time (read: more money) and is not guaranteed. Get it right from
the start. Do avoid over-using compression and EQ, however. You can
always add these later, but they're difficult to take away.
If you mess up a part while recording, don't necessarily stop and
start over. That can easily cause you to burn out. Simply keep going
and then re-record the mistakes and punch in the correction. Don't
always push for perfection in every track--it's easy to get burned
out and lose the excitement. Most artists these days dont want to
sound sterile--the overall vibe is more important.
Play back. Keep in mind that studios
often have expensive speakers that sound superb. In addition, everything
sounds better loud. Listen to the music at moderate levels, which
is how many of your fans will be hearing it. And check that the most
important parts are audible even when its soft. You need to make sure
that your music sounds good on an average speaker system, a car stereo,
or a boom box.
Bring copies of your favorite music to the sessions as a touchstone.
Compare them to what you are recording for ideas on sounds, stereo
effects and, especially, for final mix down. You get so wrapped up
in your own music during the recording process that it's easy to lose
sight of what it may sound like compared to other records.
The master tape. Decide which
format you want the finished, mixed down master to be in: DAT, one-off
CD, PMCD, reel-to-reel tape, or 1630. See which master format is the
most practical and economical for you. In general, DAT is the most
economical and versatile way to go.
When you leave the studio with your pride and joy, you may feel like
the finished recording doesnt sound quite as good as a major label
release. This is frequently unavoidable. After all, major label acts
often spend hundreds of thousands of dollars in the studio, while
you spend 10% of that. Keep in mind that while musicians are audiophiles,
most music listeners are not. Many of your fans wont notice a sonic
difference between your CD and Aerosmiths. Dont spend a dollar you
dont have for a dimes worth of difference in the finished mix.
For the finishing touch, you can take your completed master tape to
a mastering studio. Mastering, if done by an expert, can help give
your recording that big, polished sound you hear on hit records. In
fact, all major label releases are professionally mastered. However,
mastering engineers are not miracle workers; they cant turn a $500
8-track recording into Pearl Jam. The SoundLab at Disc Makers offers
affordably priced mastering services. Call 1-800-468-9353 for information.
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