Studio F.A.Q.

F R E Q U E N T L Y    A S K E D    Q U E S T I O N S

All the stuff you need to know........

This information, while exhaustive, does not cover everything, but you should find just about all the info that you should go over prior to coming to the session.

1. GENERAL STUFF


1.1) Why should my band record something?

Lots of reasons.

First, and perhaps most important, you'll need something to give to clients or clients for booking.
If you don't have a CD or tape, most clubs won't even see you.

Another reason is to shop labels;
even though, realistically, the chances are slim, some bands have gotten contracts from demo tapes.

You might want something to sell in stores or at gigs.

You might want something to prove to someone that you're doing more than just making noise in the garage.

Chances are, if you're reading this, you should be recording.
It's our opinion is that recording is a GOOD thing.
There are several benefits to the recording process other than the finished product,
better musicianship, a chance to hear your songs without playing them,
a chance to maximize your full potential as a band,
a chance to make your music something more than it is so far.

Finally, it just feels good. It's validating:
"Yes, I really AM a musician, not just some person with a guitar."


1.2) Why should my band record in a Studio?

One word: QUALITY.
Even an inexpensive professional studio can give you a product that is FAR better than a home-made recording.
Mind you, we're not disrespecting the shoe string demo or making your own recordings;
almost every band records a practice and shops clubs with the tape.
In fact, recording practices is a great way to prepare for the studio.

If you just want something to practice against, don't go to a studio,
it's too expensive for something you're only going to practice to.
But if anyone else is going to listen to your music, and be expected to buy it,
it needs to be something that doesn't have room noise, helicopters flying overhead, street noise,
buzzes and general weirdness from low quality signal processors, muddy drums, etc.

If you haven't been to a studio, you may not be aware of the things that we can do with sound...
it's pretty amazing.


1.3) What is the general process involved in recording?

There are 7 stages of making a recording:

Deciding, Preparing, Recording, Overdubbing, Mixing, Mastering, and Reproducing.
If you're with a label or have high aspirations, add Distribution as an eigth thing.

1. Deciding:

This is where you choose a recording platform, analog or digital,
a length for your project (three song demo, five song EP, nine to fourteen song CD, twenty to thirty song double CD, etc),
the songs that will be included in the project,
a studio, possibly a producer and/or engineer, and a duplicator.

2. Preparing:

This is where you practice, over and over and over again.
Then you get together your recording money, get your gear in shape, and book time.
Then practice some more.

3. Recording:

This is the time you actually spend in the soundproofed performing for posterity.
Compared with the time invested in everything else, it's woefully short.
It's also the most fun.

4. Overdubbing:

Fixing the parts that were flubbed during the recording process.
Most lead and backround vocals are overdubbed. Also adding extra parts
(guitar solos or support tracks, keyboard or string parts that were not part of the original arrangement, etc).

5. Mixing:

The art of blending all the sounds recorded for a song,
adding any effects to them and producing a stereo recording out of them.

6. Mastering:

The process of optimizing and balancing several different mixed songs;
so that they sound even and consistant with each other
and then placing them in a specific sequence (running order) for final CD duplication.

7. Reproducing:

For CD's, they take the final master tape/disk and create a "glass master",
the glass disc that is the mirror-image of your CD. This is used to press the plastic for the CD.
Cassettes are reproduced by bin-loop, where they take the 1/4" master tape,
make several copies, string them together, and use that to feed a cassette-duplication machine.


1.4) What are the pros and cons of recording a live show?

Pros:
You can capture the energy of a live show.
Some bands find it difficult to take the live energy and reproduce it in the studio.
You can also capture the audience response.
There's less recording time involved, only a few hours on-site.

Cons:
It can be VERY expensive.
You need to pay an engineer, pay for the recording equipment, negotiate with the club, and the like.
If you're just setting up mikes in the audience beware that your tape will be much lower quality than a studio recording.

Bottom line: Save it for when you've got a label to pay for and arrange it.


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2. DECIDING TO GO


2.1) How much does studio time cost?

Studio time is expensive. Although what a studio can do is magical, it's not magic and things take time.
For a reputable, decent 'budget' studio figure on $30 - $80 per hour, spent setting up, recording, mixing, and mastering.
Duplication costs are extra.
Large studios can charge from $125 - $400+ per hour.

Some studios offer package plans.
Make sure you understand EXACTLY what that package cost includes so you don't get hit with hidden charges.


2.2) How long does recording take?

This question is like asking, "how long is a piece of rope?", it has no definitive answer. It can take anywhere from 5 minutes to 5 months. It all depends on what you need to do the recording for, whether or not the material has been written yet and/or how well rehearsed you are with it. We always think that rushing things can spoil what could turn out to be a great recording and for us, that's what it's all about, making a great recording. For quick live band 'demos', you should allow at least 1 hour for every minute of a songs length, plus 2 hours for setting up; i.e. for a 4 minute song, allow 6 hours. To fit into that time constraint, you may need to cut some corners on 'production' but you will get a great 'live sound' result. For a 'finished' single, it can take anywhere from 4 days to a month+... and that's an estimate for only one version of one song. For a whole 'finished' album (from 10-14 songs), anywhere from 3 months to a year or maybe even two years, generally depending on how many songs you want to do, how much time you can spend in the studio on a regular basis, how many re-takes, versions, and/or mixes of each song you wind up doing.

If you want a fast demo just to hear what something sounds like or to try to get some gigs, you could cram a few songs into a one day session. We have done 14 songs in three 12 hour days, but that was exhausting, laborious work and, in our opinion, the finished product didn't sound very good. In this we suggest to bands, do not send out too much material just to get gigs. 2 or 3 songs are sufficient.

At the end of the day it is ultimately about what you want, but we always warn people of trying to do too much all at once,
We really feel this is will not save any money in the long run.


2.3) How do I pick a studio?

1. Ask people you know who have made a recording in a studio already.
They may have had good or bad experiences.

2. Use the internet... duh.
You can usually find pictures of the studios and tons of information about them,
their credentials, gear, clients, and other useful info (like this page)!

3. Look in the newspaper, particularly independent weeklies or music rags.

4. Pick a price you're willing to spend per hour.

5. Call all the studios you found in 1, 2 and 3 that fit your price range.

6. When you call, if they're rude to you on the phone or if they sound disinterested or unintelligent, forget that studio as fast as you can.

7. Arrange to visit the studios that are now left on your list, with the whole band if possible.
See what their facilities are like, what kind of equipment they have, how friendly the employees are, and most importantly, how comfortable you feel there.
If you're not comfortable, you can't make music to the best of your ability.


2.4) Do we need a producer?

Yes and no.
Your band should be the most important producer; after all, it's your music. However, it's really handy to have another pair of ears around that's NOT emotionally involved. To me, a producer is a lot like a proofreader and editor. They take what you do, tweak it a little or a lot, point out mistakes you might not have noticed, and put it all together.

It's generally a bad idea to have a band member's significant other (boyfriend, girlfriend, spouse, parent, etc) as a producer unless they're a professional.


2.5) Where can we get the money?

Work for it.

Divide the expense between band members.

Parents or relatives. Seriously, it's handy to have someone to borrow from if you're not making money gigging.
Make sure you pay them back as soon as you can.


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3. HOW TO PREPARE

3.1) What songs should we record?

Record your best songs.
It's important to make a distinction between good live songs and good recorded songs, though;
some of the most powerful live music doesn't translate well to a recording without the audience to feed off of.
It's better to record fewer, better songs than to record more, crappier songs.
You may not want to admit it, but sometimes we ALL write crappy songs.
Record songs that are fun to play. You're probably gonna end up playing them a lot.
Record a variety of songs. Show off your musicianship and ability to adopt different syles!


3.2) Should we record covers?

If you do decide to do some covers, should you wish to sell this recording later,
you will need to get licensing permission from the song's publisher. You may check with the Harry Fox Agency.


3.3) What gear should we bring with us?

Most studios have a variety of instruments available for use.
Check out their gear lists and see what those things are.
If they've got all you need then great... travel will be light. If not...bring your own

Guitar players:

We suggest you bring your rig: amp head and cab, guitar(s), basic effects, and enough cables to put everything together.
Studios usually have spares or alternates for most stuff that can fail.
If your going to bring 'stomp-box' effects, make sure you have plenty of spare batteries for them. Don't use power supplies!
They are very noisy and in a rehearsal room or live on stage that may not matter but in the studio, that noise will be a huge detriment to your sound!
If you have a tube amp and plan on bringing it, bring spare tubes too, just in case one or more blow out.
(believe me, it can happen!).

Bass players:

For a demo project, the bass is usually recorded directly into the board (or a POD these days), so there's no need to bring an amp.
For an album project, bring your whole rig and in that case the same things apply to you as with the guitarist.

Keyboard players:

You should definitely bring your own sound modules, samplers and keyboards, those things have the sounds you use in your songs.

Drummers:

Bring your own kit, just remember you'll add at least an hour to your set up time, so you should plan your budget accordingly.

Singers:

You should bring a big bottle of booze. (Just kidding... sort of.)


3.4) How should we prepare?

Let 's preface this by again reminding the reader that this is based on our experience, and that every band has its own style and dynamic.
This works for some bands; it may not work for you.

The most important preparation to do is of the music.
You're paying for studio time; it's cheaper to make sure everything's ready beforehand.
Practice time is free, or close to it. Use it.
Practice the songs over and over, until everyone could play their part backwards and in their sleep

One thing that often works is deconstruction.
Play a song a couple of times, then break it down into parts.
First, just drums and rhythm guitar, then drums and bass, then rhythm guitar and lead guitar, then rhythm guitar and bass, etc.
After everyone is set and is sure of what they are doing and when, bring everyone back in and play it a couple more times.

If there are going to be any changes to the arrangement, sounds, or lyrics, now is the time to make them.
Speaking in general terms, of course; being in the studio gives a new atmosphere that naturally changes the music somewhat.

Get your gear in shape. New strings, drum heads, tubes, or anything else you might need.
Get the guitars and bass set up properly.
Make sure that everyone is tuned up and ready to go.


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4. THE RECORDING PROCESS


4.1) What is the recording process?

There are two major ways to approach the recording process.

The "Live" route:
Some bands prefer to record everything as a live performance, with the whole band in the studio all being recorded at the same time. This helps capture the interplay of musicianship better, but it can make for looooong times in the studio and many, many takes. The band monitors themselves using headphones.

OR

The "Multitracked" route:
Most bands take this route. It is the incremental route. The most important track (several tracks, actually) is the drum track, so it's imperative that it be flawless. Doing it as a "build-up," the drum track is tackled first, either with one or two other musicians or the whole band playing along. Once the drum track is perfect (or acceptable, depending on the budget), the bass track is laid down to complete the rhythm section, and the other tracks are overdubbed, building up to the finished song. Generally, vocals are laid down as the last major track, then atmospherics like tambourine or backing vocals.

Either way, the electric instruments are miced at the speaker or run through a direct box. A direct box takes an instruments signal or an amp's direct output and brings them up to the level of the mixing board. Acoustic instruments are miced in an isolated fashion.

The mics and direct boxes are run into the mixing board, the mixing board sends those signals to the tape or hard drive to be recorded.

The engineer handles the recording and the monitor mix. The monitor mix is the mix heard by the band during the recording process so they can hear what they're doing. It's not the same thing that's actually laid down to tape, however.

There are two kinds of recording formats, analog and digital. We use the Digital format for recordings are which are laid down on a computer hard drive and can have unlimited tracks available. We can record 8 tracks simultaneously. Our recorders include the Yamaha AW16G 16-track Multitrack Recorder, and PC route for unlimted hard disk tracks.

Expect to overdub a lot of things. Remember, this is your chance to get it right; if you don't fix your mistakes, you'll be hearing those flubbed notes forever as part of your finished product.


4.2) What are basic do's and dont's of recording?

Don't Smoke.

Don't mistreat the studio's equipment.

Don't yell at someone for screwing up.

Don't expect to make it perfect on the first try.

Don't waste a lot of time; in this case, time really IS money.

Don't be wasted while trying to play or sing. Be professional, we are.

If you're unsure, don't settle unless money is really an issue.

Do have backup instruments.

Do be nice to the engineer.

Do bring snacks and water.

Do avoid dehydrating drinks (beer, coffee, Coke) if you're singing.

Most importantly, do observe the rules that the studio has in place.
Most studios are nonsmoking, so you'll just have to smoke outside on breaks.
If there's a big sign in the control booth that says "No Drinks on the Console", pay attention.
Mixing consoles are expensive, and you don't want to have to pay for that too.


4.3) I'm getting SO sick of this song.

Yep. So is everyone else, probably. Take a little break, have a smoke, do whatever.
Maybe move on to something else for a little bit.
There's not much more advice we can give here, it happens, it sucks.


4.4) I've played this part about a zillion times and I still can't get it.

Yep. It happens, it sucks. There are a couple of options here.
You can take a break, go scream at stuff, try to relax a little, go get a pep talk.
Another suggestion is to try to rewrite the part to something simpler.
Sometimes simpler things, played well, come off LOTS better than complex things, played poorly.
It's disheartening to acknowledge limitations, but it might be for the best.


4.5) Why is everyone else screwing up so much?

The same reasons that you are. Nerves, pressure, fatigue (physical AND mental).
Relax a little.
One of the best ways to deal with this is positive feedback.
Let the person who's having a tough time know that you believe in their ability and you're not frustrated with them for screwing up, even if you are.
Keep in mind that when it's your turn, you're gonna screw up just as much as them.
It's a part of the process, not something to be upset with.


4.6) No matter how well I play this, everyone wants me to do it again.

They know where your potential is, or at least they think they do.
If you're happy with a take and you don't think you can do it any better, let 'em know.
If you're really happy with it, stick to your guns.
This is where a producer can be either an angel or a demon.
If they like it, they're an angel. If they're not happy with anything you do, they're a demon.
An uninvolved set of ears, however, can give really good feedback.

If nothing else, you can always overdub it again later.
Chances are, after hearing it a bunch of times the way you want it, they'll come to accept it as part of the song.


4.7) I'm hungry (Thirsty, need a smoke, sobering up).

Eat. (Drink or GO OUTSIDE to Smoke) You can't play or sing up to your potential if you're uncomfortable.
If tension is too high to suggest it, wait a few minutes, but get it done.


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5. THE MIXING PROCESS


5.1) What is the mixing process?

Basically, mixing is the art of blending all the sounds recorded for a song, adding any effects to them and producing a stereo recording out of them.

Usually the vocals are 'soloed out' and listened to first, they're going to probably be the most prominent thing in the mix, so it's usually a good starting point.

Then the drums are brought in and worked on. This usully takes the longest time as they are the most complex instrument in the process.

Then the bass is next to round out the rhythm section.

Then everything else.

Each track gets its particular sound down, effects are added, and general levels are set.
Once the sound of each track is 'dialed in', the whole song is run through and listened to for any places where special tweaking attention is needed.

Mixing is the most complicated step in the recording process and should be approached accordingly.
D O    N O T    R U S H    T H I S    P A R T    O F    T H E    P R O C E S S  ! !
if you do, you will only be disappointed later. Remember you have to live with your mixes forever once they are duplicated.

Once everything's set and sounding great (not just heard), the mixing engineer will re-record the entire song as a 2-track stereo 'mix'.


5.2) What are the basic do's and dont's of mixing?

Do voice your opinion if you don't like something.

Do try to be patient. Mixing takes a long time!

Don't touch the board. Leave that to the engineer.

Don't get burned out on one song.


5.3) If I hear this song one more time, I'm going to lose my mind!

Yep. It happens, it sucks. Part of the process.
Mixing is arguably the most important step in the recording process, and it's very, very important to stay focused.
Unfortunately, mixing also involves listening to the same song over and over and over again.
If it feels like you're losing touch with the song, or losing focus, take a break or move on to another song for a while.


5.4) I want more me in the mix.

Before you say anything, make sure you really do.
Try to picture the song as a whole, not just a collection of solo pieces.
If you've carefully considered the interplay of all the parts, and you still think that your solo should be louder, say something.
Be prepared to be shot down by someone, and remember,
if you've agreed to have a producer, make sure to listen closely for thier input.


5.5) I don't like what the producer's doing.

Mmm, this is sticky. First off, the producer should be open to your ideas. They're your songs.
If the producer isn't paying attention to anything you say, you might want a new producer.
Talk to him or her. Try not to get emotional about it; explain yourself rationally.
If nothing else, try for a compromise.


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6. MASTERING & REPRODUCTION


6.1) Should we master it?

Yes. Mastering makes the difference between amateur and pro productions.
Remember that every CD you have on your shelf has been professionally mastered.


6.2) Should we do tapes or CD's?

Do CD's. They carry more prestige, last longer, and sound better.


6.3) How much will it cost to manufacture our prodoct?

These prices are only estimates. Specific costs may vary. Check with your duplicator for real numbers.

A run of 100 tapes costs about $250 from a reputable, quality duplicator. J-cards are extra.

1000 CDs cost about $1250, but that can vary depending on the quantity you make, simple packaging is usually included in the base price.
Fancy jewel cases, inserts, and backcards are extra.

Most CD duplicators offer package deals where they'll duplicate and provide printed material for one price.
Most include UPC bar-coding and shrink-wrapping too.

If you'll be distributing your product in record stores, you'll need a UPC code.


6.4) Should we do a slick package, or handwritten labels?

Remember that first impressions last a lifetime. For a gig demo, make sure that you, at the very least, use a computer or type writer to make a heading for your CD as well as tracks that you plan to put on it, and don't forget your contact info. For anything else, you should really have printed labels and cards.


6.5) How long does it take to get our stuff back from the duplication house?

Most duplicators take about a week, more for runs over 2500.
Backlogs increase late in the year because of holiday 'crunch time' compilations.
They ease up around February. Late spring is the best time of year for a fast turn around.

Give me a call at 210.341.1959