Tips on what to look for when choosing a recording studio

[lanark]

Okay - that makes sense. Could 1) (perc, keys and vocal guide) be done earlier and then the horns, real vocals, extra bits and bobs added at a later session?

I'm thinking that the horns etc could then take a few weeks to practice to the rhythm tracks and make sure that they can nail everything as quickly as possible when they eventually get into the studio.

Part of me is also thinking that the more people there are in the studio at any one time, the longer everything will take to get done. I know that we want that "live" sound that you only really get when playing as a unit, but if it takes an extra few days in the studio because of all the faffing about, it might be worth sacrificing.

[51m0n]

[quote name='lanark' post='1275476' date='Jun 20 2011, 01:20 AM']Okay - that makes sense. Could 1) (perc, keys and vocal guide) be done earlier and then the horns, real vocals, extra bits and bobs added at a later session?

I'm thinking that the horns etc could then take a few weeks to practice to the rhythm tracks and make sure that they can nail everything as quickly as possible when they eventually get into the studio.

Part of me is also thinking that the more people there are in the studio at any one time, the longer everything will take to get done. I know that we want that "live" sound that you only really get when playing as a unit, but if it takes an extra few days in the studio because of all the faffing about, it might be worth sacrificing.[/quote]


Absolutely. The studio should be perfectly happy to run you off what is essentially going to be the headphone mix as a 2 track for the horns to work to. I would be encouraged by any band making that kind of suggestion, I dont think I've ever heard of an engineer who enjoys tracking a load of fluffs and retakes.

If the rhythm section do wok to a click track then get a version with click and a version without.

Another big big hint is get the band used to being recorded, any means you can, a dictophone, an iphone, literally any recording device at all, put it in the corner of the room and do takes in rehearsal. Nothing worse than getting to the studio to discover that one or more memebers of the band suffers ternminal 'red light fever' whereby as soon as the record button is pressed they forget how to play their instrument to some degree.

Splitting the recording into sections in no way guarantees a lack of the 'live' sound.What is that anyway? Assuming you play without a click, and the percussion, keys and vocals practice giving the songs there all as that section (as if the horns broke down on the way to the gig and you had to do the first set without them) there should be no loss in energy whatsoever.

Equally the horns section will have to practice to the recording of the rhythm section and guide vocal so they can get takes quickly. Nothing kills a live sound like too many takes, whether the band is playiong as a whole or not.

You need to aim to be able to get a great take in 3 attempts, or the band will naturally start to reign it in to guarantee a good take, and that loss of exuberence comes across as a more mechanical sounding take.

Once you have the rhythm horn sections down look to spend as much time again on lead and backing vocals. They [b][i]are[/i][/b] the song for the punters, they will only notice the rest of the track if its amazing, but if the vocals are even a little bit pants then the average punter can pick up on it straight away. A blinding vocal will get you noticed more than anything else. Work the backing vocals and harmonies out beforehand too. Yes even if you dont have any live you need to put them down on the recording, they make the vocal stand out, and they are the accepted sound of vocals in songs - especially with larger bands.

Get your vocalists practicing, hard. Michael Jackson used to spend 3 hours a day on the phone with his vocal coach, and would then take a couple or three takes to get his vocal down in the first instance. Not that that ever stopped him spending more time on vocals when he needed to (often overdubbing all the little vocal ticks that were his trademark style), but he was considered by Bruce Swedian and Quincy Jones to be a stellar vocalist to record in the studio. If it was good enough for him its good enough for your vocalists too. The pet monkey is optional however.

The more rehearsed you are for this the quicker and easier it will be on the day, get the band really tuned up for the recording and the process will be slick, the results slicker, and the cost lower.

[lanark]

[quote name='51m0n' post='1275597' date='Jun 20 2011, 10:01 AM']Another big big hint is get the band used to being recorded, any means you can, a dictophone, an iphone, literally any recording device at all, put it in the corner of the room and do takes in rehearsal. Nothing worse than getting to the studio to discover that one or more memebers of the band suffers ternminal 'red light fever' whereby as soon as the record button is pressed they forget how to play their instrument to some degree.

.....

Splitting the recording into sections in no way guarantees a lack of the 'live' sound.What is that anyway? Assuming you play without a click, and the percussion, keys and vocals practice giving the songs there all as that section (as if the horns broke down on the way to the gig and you had to do the first set without them) there should be no loss in energy whatsoever.

.....

You need to aim to be able to get a great take in 3 attempts, or the band will naturally start to reign it in to guarantee a good take, and that loss of exuberence comes across as a more mechanical sounding take.

.....

Once you have the rhythm horn sections down look to spend as much time again on lead and backing vocals. They [b][i]are[/i][/b] the song for the punters, they will only notice the rest of the track if its amazing, but if the vocals are even a little bit pants then the average punter can pick up on it straight away. A blinding vocal will get you noticed more than anything else. Work the backing vocals and harmonies out beforehand too. Yes even if you dont have any live you need to put them down on the recording, they make the vocal stand out, and they are the accepted sound of vocals in songs - especially with larger bands.

.....

The more rehearsed you are for this the quicker and easier it will be on the day, get the band really tuned up for the recording and the process will be slick, the results slicker, and the cost lower.[/quote]

These are all excellent, excellent points. Thank you very much.

[sweavo]

Hi peeps,

I'm Steve, timbales and bandleader of lanark's band. Fascinated to read all this.

Just one query so far: when you say "tracking" is that just jargon for "recording"? Or is there some subtle difference in nuance?

We've had one sesh in our practice space, which is large and with pretty good acoustics (brightish but with no noticeable slapback or ringing). Engineers recommended by our trumpet player placed mics and we just had a rehearsal as they beavered away. By the end of 4 hours they reckoned they had enough material... but I have yet to hear the results!

I'm keen to try a separated, possibly even click tracked, recording, as much to get everyone in the band more experience at working that way as to hear the results of working with strongly separated tracks. But so many outfits seem set up to deal with kick, snare, hats, guitars, vox that it's nerve-wracking to hand someone cash. And listening to previous work is difficult when you're the only band making this style of music within 80 miles!

Thanks for all the contributions so far!

[51m0n]

I think people look at recording music as the entire process. Rightly or wrongly.

The process of tracking is the bit where you guys make music and someone commits it to a machine, so the actual recording of the session part.

As seperate from the mix, where the tracks are all put together into a stereo file for playback on hifis and stuff.

And mastering, which is a whole other can of worms.

[51m0n]

Given a good enough acoustic space there is nothing wrong with an ensemble recording in a single space without headphones.

The trouble with less seperation (which always follows from the above) is that the ability to polish the sound at mix down can be compromised significantly by the spill.

Also the recording will tend to have a very strong imprint of that particular acoustic space put on on it by the spill, which may or may not be desirable.

[sweavo]

[quote name='51m0n' post='1276104' date='Jun 20 2011, 04:21 PM']I think people look at recording music as the entire process. Rightly or wrongly.[/quote]

Ah yes, that makes sense. You might "record" an album but you "track" the lead vocals. Thanks.

Going to take a look at an all-analog studio this weekend. This thread has really helped with what difficult questions we will ask the guy!

[51m0n]

Analogue vs digital is yet another huge can of worms.

Either can sound like rancid vomit tastes.

The simple truth is the guy in control and the band making the music determines in entirety the quality of the final product, more than the tech used.

[ZMech]

[quote name='51m0n' post='1277100' date='Jun 21 2011, 02:43 PM']The simple truth is the guy in control and the band making the music determines in entirety the quality of the final product, more than the tech used.[/quote]

so long as you have the machine that goes Bing!

[51m0n]

[quote name='sweavo' post='1276083' date='Jun 20 2011, 05:07 PM']I'm keen to try a separated, [b]possibly even click tracked,[/b] recording, as much to get everyone in the band more experience at working that way as to hear the results of working with strongly separated tracks. But so many outfits seem set up to deal with kick, snare, hats, guitars, vox that it's nerve-wracking to hand someone cash. And listening to previous work is difficult when you're the only band making this style of music within 80 miles!

Thanks for all the contributions so far![/quote]

My advice, use a handclap, not a click, or a sidestick or what ever.

A handclap 'sits' in the acoustic space of a live band better, its more natural as an addition to the overall sound, and it can impart a bit of swing.

Get a cheap drum machine, program in the correct clave for the track in question, set the tempo, whack it through the PA and let it go.

Get the entire band practicing with this tool and they will tighten up in no time, like you wouldnt believe. Variations of this have worked for me in loads of bands, usually in the funk bands I play in getting the clap to accent the 2 and 4 really heavily forces uss to bring the ONE, which imparts more swing and tightness. I woudl imagine that using the right clave would be the ting for latin.

After an hour or two practicing with the clap, turn it off and play the set, better yet record it once before you use the clap, and once after. The result can be very eye opening!

[Rimskidog]

All good advice from 51mon here!