Top 10 Things To Watch For When Replicating Your CD or DVD
by: Rashi Singh
You hear about it all the time. You are throwing your first ever CD release party, at which you’re planning on selling the first available copies of your debut album. You’ve worked for years for this night – your dream is finally coming true. Everything is all set: the venue is booked, the invites have been sent, the dj is ready to go, and the drinks and décor are all exactly how you imagined.
But there’s one problem. Your replicator hasn’t delivered on time, and you’ve just been told that your CD’s won’t arrive until the day after the party.
Believe it or not, this happens more often than you might think! Here are the top ten surefire ways to avoid this and other similar nightmares:
1) Provide the replicator with clean artwork. All replicators’ turn times depend on receiving flawless files. If you have any questions, don’t be afraid to call on customer support for help;
2) Plan ahead of time. Plan for your delivery date to be at least a week before your absolute deadline; this gives you and the replicator enough time to make sure everything goes smoothly;
3) Dealing directly with the manufacturer can reduce the lag time (and often also the price!), versus dealing with a broker;
4) Choose a replicator who is accessible. Are they always there when you need them? Can you trust your project in their hands? Do they care about your project?
5) Test and re-test your master for errors. There’s nothing more time-consuming and frustrating than sending a replicator a faulty master. Always supply a back-up disc;
6) Make sure you own the rights to the content. Replicators are legally obligated to ensure that you are the rightful owner of what’s being replicated;
7) Know exactly what it is that you are paying for before you choose your supplier. Understand the costs and the jargon behind your quotation;
8) Choose a replicator that has a team in place to deal with problems and frustrations as they occur;
9) Choose a replication partner who has interest in growing with you as you grow;
10) Is there a hidden agenda? Is the sales rep more interested in his or her quota than working as your partner?
Choosing the right replicator can make all the difference. Choose smart and let the journey to your success be a whole lot easier!
***************************************
Be sure to sign up for the new Sojournstar Music Network!
If your on the East Coast, be sure to sign up for
MusicRVA Social Network!
and if you want to make money while having fun and promoting your band, music or business, then you must
Join me at Weblo Virtual World for Fun & Profit!
Showing posts with label Recording Tips. Show all posts
Showing posts with label Recording Tips. Show all posts
Wednesday, March 25, 2009
Saturday, March 21, 2009
Recording The Guitar to a Computer
by: Brian Murphy
You want to record your guitar, make your own riffs, music, etc. You want to plug my guitar into my computer? How to connect the guitar to the computer the right and best way? What software? Which audio interface? What about my favorites guitar effects? What computer? Where to start? It can be overwhelming.
The recording guitarist's computer setup should be something like this:
* Guitar (*GTR with 13 pin connection recommended) * Microphone for recording Acoustic guitar, vocals etc. * Quality guitar cable * Audio Interface-Firewire (recommended) or USB * Guitar/midi interface * USB/Firewire cables * Computer (Mac recommended or PC) * Extra external/internal Hard Drive (recommended) * Audio recording/sequencer software * Plug-ins: effects- reverb, compressor, delay, chorus, etc o Dedicated guitar effects/amp simulation o Sampler/synths (for 13 pin guitarists or guitarist who can play keyboards) * Quality cables to speakers * Powered Speakers * Headphones (so you do not disturb the wife an kids at those late weekend sessions).
Some recording setups:
-Setting up your whole live rig and putting a microphone in front of the your cabinet, playing at loud volumes so you get the amp to sound right, push the speaker enough, putting your speaker in a closet, using a blanket to damping volume, etc. -You could use a load on you speaker and record direct.
-Use a preamp that is compensated for direct recording as the front end. You can plug this into outboard effects or add plug-ins
-You could record from your pedal board or any outboard multi-effects you might own. You probably end up with a direct type sound. Some multi-effects have amp simulation that might take the edge off the direct sound.
With any of these scenarios you are committing yourself to the recorded track. If you record with effects, you can't change it later. You would have to re-record! And if you do not re-record on the same day or you have to come back and have to set up the rig again, hopefully the knobs setting were written down, place the speaker in the same place etc, etc.... If you get into the recording other instruments or mixing the song and you want to change the guitar sound, tone, effects, etc, -- you have to re-record!
With a guitar with a 13 pin connection, either internally or a pickup installed on the body, you get 100% use of your software. You can record your guitar sound and get access to any software synths or samplers that come with the software or as a plug-in add-on.
With a software computer base system, you can change almost everything after you have recorded--amps, effects, mics, mic placement and more. You do this with plug-ins. You can save all your presets, sounds, etc. You could have multi-guitar tracks with different settings all from recording one track. The flexibility is there! Yes, there are purists out there- "software can't sound like tubes". Well, the software is getting pretty close!!!!
There is a lot of software out there. You do not have to spend a lot of money AND it is always improving. You buy a box. (i.e.hard disk recorders, and others mentioned above), you have bought a box. You usually can't upgrade without buying a new box.
People use computers every day at work or home- Microsoft Office (Word, Excel Power Point, etc) Email, Internet. Use it to record your guitar and music!!
Hopefully, this helps and you can check out more at http://www.guitarhelper.net
Brian has 18 years experience in the Music Industry.
He can be contacted at Brian@guitarhelper.net.
***************************************
Be sure to sign up for the new Sojournstar Music Network!
If your on the East Coast, be sure to sign up for
MusicRVA Social Network!
and if you want to make money while having fun and promoting your band, music or business, then you must
Join me at Weblo Virtual World for Fun & Profit!
You want to record your guitar, make your own riffs, music, etc. You want to plug my guitar into my computer? How to connect the guitar to the computer the right and best way? What software? Which audio interface? What about my favorites guitar effects? What computer? Where to start? It can be overwhelming.
The recording guitarist's computer setup should be something like this:
* Guitar (*GTR with 13 pin connection recommended) * Microphone for recording Acoustic guitar, vocals etc. * Quality guitar cable * Audio Interface-Firewire (recommended) or USB * Guitar/midi interface * USB/Firewire cables * Computer (Mac recommended or PC) * Extra external/internal Hard Drive (recommended) * Audio recording/sequencer software * Plug-ins: effects- reverb, compressor, delay, chorus, etc o Dedicated guitar effects/amp simulation o Sampler/synths (for 13 pin guitarists or guitarist who can play keyboards) * Quality cables to speakers * Powered Speakers * Headphones (so you do not disturb the wife an kids at those late weekend sessions).
Some recording setups:
-Setting up your whole live rig and putting a microphone in front of the your cabinet, playing at loud volumes so you get the amp to sound right, push the speaker enough, putting your speaker in a closet, using a blanket to damping volume, etc. -You could use a load on you speaker and record direct.
-Use a preamp that is compensated for direct recording as the front end. You can plug this into outboard effects or add plug-ins
-You could record from your pedal board or any outboard multi-effects you might own. You probably end up with a direct type sound. Some multi-effects have amp simulation that might take the edge off the direct sound.
With any of these scenarios you are committing yourself to the recorded track. If you record with effects, you can't change it later. You would have to re-record! And if you do not re-record on the same day or you have to come back and have to set up the rig again, hopefully the knobs setting were written down, place the speaker in the same place etc, etc.... If you get into the recording other instruments or mixing the song and you want to change the guitar sound, tone, effects, etc, -- you have to re-record!
With a guitar with a 13 pin connection, either internally or a pickup installed on the body, you get 100% use of your software. You can record your guitar sound and get access to any software synths or samplers that come with the software or as a plug-in add-on.
With a software computer base system, you can change almost everything after you have recorded--amps, effects, mics, mic placement and more. You do this with plug-ins. You can save all your presets, sounds, etc. You could have multi-guitar tracks with different settings all from recording one track. The flexibility is there! Yes, there are purists out there- "software can't sound like tubes". Well, the software is getting pretty close!!!!
There is a lot of software out there. You do not have to spend a lot of money AND it is always improving. You buy a box. (i.e.hard disk recorders, and others mentioned above), you have bought a box. You usually can't upgrade without buying a new box.
People use computers every day at work or home- Microsoft Office (Word, Excel Power Point, etc) Email, Internet. Use it to record your guitar and music!!
Hopefully, this helps and you can check out more at http://www.guitarhelper.net
Brian has 18 years experience in the Music Industry.
He can be contacted at Brian@guitarhelper.net.
***************************************
Be sure to sign up for the new Sojournstar Music Network!
If your on the East Coast, be sure to sign up for
MusicRVA Social Network!
and if you want to make money while having fun and promoting your band, music or business, then you must
Join me at Weblo Virtual World for Fun & Profit!
Thursday, July 12, 2007
CHOOSING HOME STUDIO EQUIPTMENT
Personal studio equipment is not meant as a means to record your demo, but rather to be used more like a notepad. You should really tune your sound before going into a studio and paying by the hour to make your demo. A great way to do this is to record and re-record over and over again until you know exactly the way you want it. It will save you big bucks in the studio.
Personal studio equipment is sometimes even used to lay down a few tracks before you get into the studio. You will lose a generation, and the sound isn't going to be as great, but for things like drums and bass that are laid into the background, it's sufficient. You can also keep track of your changing sound, and let's face it, we all love to hear ourselves. In addition, it's great practice if you have ideas of owning your own studio someday. Every not-so- rich-and-famous music maker should have a personal studio.
Four-tracks are the most common piece of personal studio equipment on the market today. If you are not familiar with them, they are called four-tracks because they record on just that, four tracks. A regular cassette tape contains four tracks all together, two for each "side", a four-track recorder utilizes all four for recording songs. A four-track is like a cassette recorder than can play and record at the same time (multi-tracking). A recording studio usually has between 16 and 48 tracks, so you have less to play with, but if you utilize your space wisely, you can get a terrific sound.
There is a common practice called sub-mixing, also referred to as "bouncing," that can free up some space for extra instruments or vocals. For instance, you could record the drums on track one, bass on track two, and guitar on track three, then transfer all three to track four, leaving three empty tracks. Again, you get into the generation loss, but since this isn't your actual demo, you should be fine. Just make sure you have your drums, bass and guitar exactly the way you want them because they cannot be changed once they are mixed together.
The big five companies in four-tracks are Fostex, Tascam, Sony, Yamaha, and Akai, with Fostex and Tascam being the most common. In this article, we're trying to make you aware of the latest equipment out there, we are not necessarily making any recommendations. The top of the line for Tascam is the 644 MIDIstudio. The 644 has sixteen inputs to eight channels, with MIDI and remote control. It also has a DBX noise reduction system, three band EQ, switchable tape speed, and a multi-function dual mix system. The Tascam 644 MIDIstudio is a great choice for computer geeks that know what they're doing.
For those not-so-in-the-know, there is the Yamaha MT120. The MT120 is great for first-time four-track owners. It contains a five-band Stereo Graphics Equalizer, dual speed controls, and DBX noise reduction system. It has the added bonus of being able to record on all four tracks at the same time. Not a lot of units have that feature. The EQ output also includes Aux send and return.
If you're looking for something more compact that you can take on the road with you, Tascam's Porta 05 or Porta 02 ministudios, or the Fostex X-14 Multitracker will be your best bets. The Tascam Porta 05 features a two-channel, two-band equalizer, four inputs, and built-in DBX system noise reduction. The Porta 05HS is also available, it contains high speed recording. The Porta 02 and X-14 have slightly less features. The Porta 02 has two inputs with adjustable Trim and operates at standard speed. The Fostex X-14 Multitracker has an internal omni-directional condenser microphone and LED meters, however, it has only one input and it also runs at normal speed.
The next size up in compact, portable four-tracks are the Fostex XR-3 Multitrack, and the Tascam 414 Portastudio. Though slightly larger than the compacts, they make up for their bulk in features. The XR-3 is easy to operate with two inputs, dual speeds, Dolby B noise reduction, auto bounce circuit, and tape out terminals. It also has the internal omni-directional condenser microphone like the X-14. The 414 has that terrific feature of being able to record on all four tracks at once, mic or line. It also has a sync out, linear faders, high and low EQ, and two stereo effects returns.
If you're looking for middle-of-the-road stuff that is still portable, but a bit larger than the others, there are a lot of options out there. Some of the best are the X-77, XR-5, and XR-7 from Fostex, and the Tascam 424. With a six channel mixer, two switchable aux sends per channel, and a bi-alternate mix mode, the X-77 is noted for it's diversity and quality. It also has an assignable parametric equalizer, alternative aux send, and a MIDI/tape multi-mix mode. Fostex's XR-5 and XR-7 both have two aux sends, and two stereo aux returns, plus their own unique features.
The XR-5, which I own and am very happy with, has a four channel input mixer, EQ on every channel, four direct tape outputs, and it records at high speed. The XR-7 is step up with six channel input mixer, rehearsal mode, logic control transport, and 2 and 3 band sweep EQ. The XR-5 has Dolby B® NR, while the XR-7 has Dolby C® NR. Both are great machines, as is the Tascam 424 with it's three-band EQ, auto punch in/out, and the return-to-zero feature that makes recording so much easier. This four input machine also has two additional stereo ins. All four of these machines are reasonably priced and will get the job done more than efficiently.
Finally, there are the big boys, as I mentioned before, the Tascam 644 MIDIstudio is top of the line in four tracks, however, in this age of technological advances, there are more options out there. The future of four-track technology is turning toward MiniDiscs®, or MDs. A mini-disc is a magneto-optical format that is rewritable. MiniDiscs® have many advantages over cassette four-tracks, in much the same way that CDs are superior to cassette tapes. Bouncing is a lot clearer with minidiscs, the editing process is a big step up, and the signal is much cleaner. MiniDiscs® are more expensive than most four-tracks, but new technology is always more expensive and will eventually lower in price.
Tascam's 564 Digital Portastudio, Sony's MDM-X4 Mark II, and Yamaha's MD4 are three good examples of this new technology. The 564 features an S/PDIF output, auto-punch overdubbing with rehearse, two stereo aux returns, and a top-of-the-line "bounce forward" feature. The bounce forward feature is used to cut, move, copy, and assemble your songs. The MDM-X4 has four mono mic/line ins, two aux sends, two stereo returns, and some great editing features including track and song based editing, allowing you to erase, copy, move, and exchange. Other editing features are Undo/Redo, Virtual Mix, and Mix Write. The Virtual Mix feature allows you to record up to 16 virtual tracks, which can be combined down to two or four tracks, and the Mix Write feature allows you to add a track to an already-recorded track. Yamaha's MD4 uses Sony's MiniDisc Data discs, it features an integrated four-channel analog mixer, 3-band EQ, search and locate functions, song and track editing and MIDI output. The MD4 also boasts "Lossless digital bouncing". This process allows you to bounce all four tracks down to one or two tracks as many times as is needed without losing fidelity.
The features I've highlighted here are not the only features on these machines, please contact Lentine's Music Inc., or another musical equipment vendor for more details on these products. Work with your vendor, take their suggestions to heart, but do your own research, and talk to people who own a four-track, get their opinion.
To a lot of us, the dollar amount involved is considerable and our decision on what to purchase should be made with care and consideration. Also keep in mind that we couldn't possibly cover every four-track on the market, there are a lot of machines to choose from. We would have liked to have included the Akai DR4d, and the Fostex X-55 and XR3, among others. Also keep in mind that a four-track needs a lot of accessories to complete your personal studio.
Most personal studios consist of a reverb unit, drum machine, microphone, headphones, and your various instruments, along with the four-track. A lot of people also prefer to purchase a DAT (Digital Audio Tape) recorder or CD recorder to record on rather than a cassette, and that adds to the bill considerably. It's no small change, but it also doesn't have to cost a small fortune. Make sure you really shop and compare, especially on the internet. With musical items, there can be a huge price difference from one vendor to another.
Two other tips: ALWAYS clean your heads before starting a new session, and NEVER use metal cassette tapes. Good luck, and happy hunting!
Technorati Profile
Personal studio equipment is sometimes even used to lay down a few tracks before you get into the studio. You will lose a generation, and the sound isn't going to be as great, but for things like drums and bass that are laid into the background, it's sufficient. You can also keep track of your changing sound, and let's face it, we all love to hear ourselves. In addition, it's great practice if you have ideas of owning your own studio someday. Every not-so- rich-and-famous music maker should have a personal studio.
Four-tracks are the most common piece of personal studio equipment on the market today. If you are not familiar with them, they are called four-tracks because they record on just that, four tracks. A regular cassette tape contains four tracks all together, two for each "side", a four-track recorder utilizes all four for recording songs. A four-track is like a cassette recorder than can play and record at the same time (multi-tracking). A recording studio usually has between 16 and 48 tracks, so you have less to play with, but if you utilize your space wisely, you can get a terrific sound.
There is a common practice called sub-mixing, also referred to as "bouncing," that can free up some space for extra instruments or vocals. For instance, you could record the drums on track one, bass on track two, and guitar on track three, then transfer all three to track four, leaving three empty tracks. Again, you get into the generation loss, but since this isn't your actual demo, you should be fine. Just make sure you have your drums, bass and guitar exactly the way you want them because they cannot be changed once they are mixed together.
The big five companies in four-tracks are Fostex, Tascam, Sony, Yamaha, and Akai, with Fostex and Tascam being the most common. In this article, we're trying to make you aware of the latest equipment out there, we are not necessarily making any recommendations. The top of the line for Tascam is the 644 MIDIstudio. The 644 has sixteen inputs to eight channels, with MIDI and remote control. It also has a DBX noise reduction system, three band EQ, switchable tape speed, and a multi-function dual mix system. The Tascam 644 MIDIstudio is a great choice for computer geeks that know what they're doing.
For those not-so-in-the-know, there is the Yamaha MT120. The MT120 is great for first-time four-track owners. It contains a five-band Stereo Graphics Equalizer, dual speed controls, and DBX noise reduction system. It has the added bonus of being able to record on all four tracks at the same time. Not a lot of units have that feature. The EQ output also includes Aux send and return.
If you're looking for something more compact that you can take on the road with you, Tascam's Porta 05 or Porta 02 ministudios, or the Fostex X-14 Multitracker will be your best bets. The Tascam Porta 05 features a two-channel, two-band equalizer, four inputs, and built-in DBX system noise reduction. The Porta 05HS is also available, it contains high speed recording. The Porta 02 and X-14 have slightly less features. The Porta 02 has two inputs with adjustable Trim and operates at standard speed. The Fostex X-14 Multitracker has an internal omni-directional condenser microphone and LED meters, however, it has only one input and it also runs at normal speed.
The next size up in compact, portable four-tracks are the Fostex XR-3 Multitrack, and the Tascam 414 Portastudio. Though slightly larger than the compacts, they make up for their bulk in features. The XR-3 is easy to operate with two inputs, dual speeds, Dolby B noise reduction, auto bounce circuit, and tape out terminals. It also has the internal omni-directional condenser microphone like the X-14. The 414 has that terrific feature of being able to record on all four tracks at once, mic or line. It also has a sync out, linear faders, high and low EQ, and two stereo effects returns.
If you're looking for middle-of-the-road stuff that is still portable, but a bit larger than the others, there are a lot of options out there. Some of the best are the X-77, XR-5, and XR-7 from Fostex, and the Tascam 424. With a six channel mixer, two switchable aux sends per channel, and a bi-alternate mix mode, the X-77 is noted for it's diversity and quality. It also has an assignable parametric equalizer, alternative aux send, and a MIDI/tape multi-mix mode. Fostex's XR-5 and XR-7 both have two aux sends, and two stereo aux returns, plus their own unique features.
The XR-5, which I own and am very happy with, has a four channel input mixer, EQ on every channel, four direct tape outputs, and it records at high speed. The XR-7 is step up with six channel input mixer, rehearsal mode, logic control transport, and 2 and 3 band sweep EQ. The XR-5 has Dolby B® NR, while the XR-7 has Dolby C® NR. Both are great machines, as is the Tascam 424 with it's three-band EQ, auto punch in/out, and the return-to-zero feature that makes recording so much easier. This four input machine also has two additional stereo ins. All four of these machines are reasonably priced and will get the job done more than efficiently.
Finally, there are the big boys, as I mentioned before, the Tascam 644 MIDIstudio is top of the line in four tracks, however, in this age of technological advances, there are more options out there. The future of four-track technology is turning toward MiniDiscs®, or MDs. A mini-disc is a magneto-optical format that is rewritable. MiniDiscs® have many advantages over cassette four-tracks, in much the same way that CDs are superior to cassette tapes. Bouncing is a lot clearer with minidiscs, the editing process is a big step up, and the signal is much cleaner. MiniDiscs® are more expensive than most four-tracks, but new technology is always more expensive and will eventually lower in price.
Tascam's 564 Digital Portastudio, Sony's MDM-X4 Mark II, and Yamaha's MD4 are three good examples of this new technology. The 564 features an S/PDIF output, auto-punch overdubbing with rehearse, two stereo aux returns, and a top-of-the-line "bounce forward" feature. The bounce forward feature is used to cut, move, copy, and assemble your songs. The MDM-X4 has four mono mic/line ins, two aux sends, two stereo returns, and some great editing features including track and song based editing, allowing you to erase, copy, move, and exchange. Other editing features are Undo/Redo, Virtual Mix, and Mix Write. The Virtual Mix feature allows you to record up to 16 virtual tracks, which can be combined down to two or four tracks, and the Mix Write feature allows you to add a track to an already-recorded track. Yamaha's MD4 uses Sony's MiniDisc Data discs, it features an integrated four-channel analog mixer, 3-band EQ, search and locate functions, song and track editing and MIDI output. The MD4 also boasts "Lossless digital bouncing". This process allows you to bounce all four tracks down to one or two tracks as many times as is needed without losing fidelity.
The features I've highlighted here are not the only features on these machines, please contact Lentine's Music Inc., or another musical equipment vendor for more details on these products. Work with your vendor, take their suggestions to heart, but do your own research, and talk to people who own a four-track, get their opinion.
To a lot of us, the dollar amount involved is considerable and our decision on what to purchase should be made with care and consideration. Also keep in mind that we couldn't possibly cover every four-track on the market, there are a lot of machines to choose from. We would have liked to have included the Akai DR4d, and the Fostex X-55 and XR3, among others. Also keep in mind that a four-track needs a lot of accessories to complete your personal studio.
Most personal studios consist of a reverb unit, drum machine, microphone, headphones, and your various instruments, along with the four-track. A lot of people also prefer to purchase a DAT (Digital Audio Tape) recorder or CD recorder to record on rather than a cassette, and that adds to the bill considerably. It's no small change, but it also doesn't have to cost a small fortune. Make sure you really shop and compare, especially on the internet. With musical items, there can be a huge price difference from one vendor to another.
Two other tips: ALWAYS clean your heads before starting a new session, and NEVER use metal cassette tapes. Good luck, and happy hunting!
Technorati Profile
RECORDING TIPS FOR THE STUDIO EXPERIENCE
THESE TIPS ARE DESIGNED TO HELP MUSICIANS SAVE TIME, MONEY AND FRUSTRATION IN THE STUDIO BEFORE BOOKING STUDIO TIME
1. Record your songs during live gigs and pre-production rehearsals. Even a simple cassette recording on a boom box may reveal weak parts of songs that you would waste time finding out in the studio.
2. Have all musical and vocal parts worked out ahead of time. Know what guitar solos you want to use before experimenting at XX dollars an hour.
3. If you are using a computer or a sequencer, prepare all the material before the session.
4. If you need to use a click track at the session, be sure your drummer has gotten comfortable with it before hand if possible. He can get some light rehearsal by practicing with one at a very slow tempo.
5. Rehearse more songs than you plan to record. If you plan to make a 3 song demo at your session, prepare 5 songs just in case. You may decide midstream that one of the 3 that you originally chose does not as sound as strong on the final tape as one of your alternatives.
6. Take care of yourself before and during your session times. Be sure to eat well, get enough sleep (no partying till dawn) and keep your ears as rested and clear as possible.
NOW THAT YOU HAVE PREPARED YOURSELF IN ADVANCE, AND YOU HAVE BOOKED THE SESSION TIME, THESE TIPS WILL HELP YOU IN SETTING UP IN THE STUDIO
1. Be on time or early. You may be charged for the time booked whether you have gotten there or not.
2. Make your studio experience as relaxed and comfortable as possible. Bring snacks to keep your energy up, and beverages to keep you hydrated. If your not comfortable, this will show in the work that you do.
3. Go over your songs with the engineer before recording, be sure you both see the same goal.
4. Depending on the tracking capability of the studio you are using, plan out how you will leave room for the essential parts. This preparation will simplify the mix and eliminate the need for bouncing tracks later.
5. Equip yourself with new strings, drum sticks and heads, cords etc. Be sure to bring extras. Find out hours if operation for local music stores just in case.
6. Stick to using gear you are familiar with, and refrain from equipment you have not used before even if it is better than what you have. These kinds of surprises can cause problems for you in the session.
NOW LETS TALK A BIT ABOUT THE RECORDING PROCESS ITSELF.
1. Remember that it's emotion and feeling that make up a song, not necessarily the best technical rendition.
2. If you mess up a part during recording, don't stop and start over. That can cause burnout and frustration, not to mention wasting time. Have the enginerr punch in the corrections.
3. You don't have to fill up all the tracks on the tape. Don't try to force something that doesn't fit.
4. Keep the focus of your music in mind. If it's the vocals, plan to spend the most tome on them. Don't waste time on things that don't highlight the focal point.
5. Get the sound you want while recording. Never assume that you can fix it in the mix.
6. Record individual tracks clean, and add effects later.
7. Try to avoid double tracking everything. Doubling a lead vocal can hide subtleties that make a song personable and likable (although this can work well for a chorus).
8. Know when to quit for the day. If you are really tired, it will show in your work.
9. Keep guests to a limit or out altogether. Guests can distract you and may sway your opinion of how the music should sound.
10. Make back up copies after every recording session.
11. Tune your instruments often.
12. Singers should always bring water but stay away from ice. Ice constricts your vocal chords. Hot tea with lemon and honey works great.
13. Always get a track listing and accurate time log from the studio.
WHEN YOU ARE MONITORING THE MIX, LISTEN TO YOUR MUSIC AT MODERATE LEVELS IN YOUR CAR OR ON A BOOM BOX. THIS IS HOW MOST OF YOUR FANS WILL LISTEN TO IT, AND MIXING AT LOAD LEVELS WILL FATIGUE YOUR EARS AND DISTORT THE TRUE SOUND. SOMETIMES IT'S GOOD TO TAKE A DAY OFF AND COME BACK TO LISTEN. EARS DON'T LAST VERY LONG IN THE STUDIO. AS YOU REVIEW EACH MIX, MAKE SURE YOU CAN COMFORTABLY HEAR ALL THE INSTRUMENTS. TWEAK THE MIX ON A SMALL PAIR OF SPEAKERS AT AN EXTREMELY LOW VOLUME. YOU SHOULD BE ABLE TO PICK UP EACH INSTRUMENT EVEN AT THIS LEVEL. WHEN YOU GET TOO TIRED, THEN QUIT. YOUR ARE BETTER OFF QUITTING A SESSION EARLY THAN WASTING TIME MAKING A BAD MIX THAT WILL HAVE TO BE REDONE ANYWAY. NEXT TIME WE WILL TALK ABOUT THE ACTUAL MIXING PROCESS, BUT IN THE MEANTIME......GOOD LUCK!!!!!
1. Record your songs during live gigs and pre-production rehearsals. Even a simple cassette recording on a boom box may reveal weak parts of songs that you would waste time finding out in the studio.
2. Have all musical and vocal parts worked out ahead of time. Know what guitar solos you want to use before experimenting at XX dollars an hour.
3. If you are using a computer or a sequencer, prepare all the material before the session.
4. If you need to use a click track at the session, be sure your drummer has gotten comfortable with it before hand if possible. He can get some light rehearsal by practicing with one at a very slow tempo.
5. Rehearse more songs than you plan to record. If you plan to make a 3 song demo at your session, prepare 5 songs just in case. You may decide midstream that one of the 3 that you originally chose does not as sound as strong on the final tape as one of your alternatives.
6. Take care of yourself before and during your session times. Be sure to eat well, get enough sleep (no partying till dawn) and keep your ears as rested and clear as possible.
NOW THAT YOU HAVE PREPARED YOURSELF IN ADVANCE, AND YOU HAVE BOOKED THE SESSION TIME, THESE TIPS WILL HELP YOU IN SETTING UP IN THE STUDIO
1. Be on time or early. You may be charged for the time booked whether you have gotten there or not.
2. Make your studio experience as relaxed and comfortable as possible. Bring snacks to keep your energy up, and beverages to keep you hydrated. If your not comfortable, this will show in the work that you do.
3. Go over your songs with the engineer before recording, be sure you both see the same goal.
4. Depending on the tracking capability of the studio you are using, plan out how you will leave room for the essential parts. This preparation will simplify the mix and eliminate the need for bouncing tracks later.
5. Equip yourself with new strings, drum sticks and heads, cords etc. Be sure to bring extras. Find out hours if operation for local music stores just in case.
6. Stick to using gear you are familiar with, and refrain from equipment you have not used before even if it is better than what you have. These kinds of surprises can cause problems for you in the session.
NOW LETS TALK A BIT ABOUT THE RECORDING PROCESS ITSELF.
1. Remember that it's emotion and feeling that make up a song, not necessarily the best technical rendition.
2. If you mess up a part during recording, don't stop and start over. That can cause burnout and frustration, not to mention wasting time. Have the enginerr punch in the corrections.
3. You don't have to fill up all the tracks on the tape. Don't try to force something that doesn't fit.
4. Keep the focus of your music in mind. If it's the vocals, plan to spend the most tome on them. Don't waste time on things that don't highlight the focal point.
5. Get the sound you want while recording. Never assume that you can fix it in the mix.
6. Record individual tracks clean, and add effects later.
7. Try to avoid double tracking everything. Doubling a lead vocal can hide subtleties that make a song personable and likable (although this can work well for a chorus).
8. Know when to quit for the day. If you are really tired, it will show in your work.
9. Keep guests to a limit or out altogether. Guests can distract you and may sway your opinion of how the music should sound.
10. Make back up copies after every recording session.
11. Tune your instruments often.
12. Singers should always bring water but stay away from ice. Ice constricts your vocal chords. Hot tea with lemon and honey works great.
13. Always get a track listing and accurate time log from the studio.
WHEN YOU ARE MONITORING THE MIX, LISTEN TO YOUR MUSIC AT MODERATE LEVELS IN YOUR CAR OR ON A BOOM BOX. THIS IS HOW MOST OF YOUR FANS WILL LISTEN TO IT, AND MIXING AT LOAD LEVELS WILL FATIGUE YOUR EARS AND DISTORT THE TRUE SOUND. SOMETIMES IT'S GOOD TO TAKE A DAY OFF AND COME BACK TO LISTEN. EARS DON'T LAST VERY LONG IN THE STUDIO. AS YOU REVIEW EACH MIX, MAKE SURE YOU CAN COMFORTABLY HEAR ALL THE INSTRUMENTS. TWEAK THE MIX ON A SMALL PAIR OF SPEAKERS AT AN EXTREMELY LOW VOLUME. YOU SHOULD BE ABLE TO PICK UP EACH INSTRUMENT EVEN AT THIS LEVEL. WHEN YOU GET TOO TIRED, THEN QUIT. YOUR ARE BETTER OFF QUITTING A SESSION EARLY THAN WASTING TIME MAKING A BAD MIX THAT WILL HAVE TO BE REDONE ANYWAY. NEXT TIME WE WILL TALK ABOUT THE ACTUAL MIXING PROCESS, BUT IN THE MEANTIME......GOOD LUCK!!!!!
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