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Getting ready before entering the studio: checklist to follow...
As an indication, here is a classic schedule for a recording of 4 titles:
1) Set a recording date, for 4 titles: 3 days of takes, 2 days of mixing (do the mixing at least two weeks after the takes: you have to let all that rest) Setting dates gives deadlines and puts healthy pressure.
2) Knowing the date, working like crazy every day in groups and/or individually... out of order: a lot of clicking, fixing the structures of the pieces by really thinking about it, fixing the tempos, recording the repetitions and listen again, do as many concerts as possible.... in short, arrive in the studio asking only one question: the interpretation of the vocals, the rest must have been thought out beforehand.
3) All members of the group must perfectly possess the pieces to be recorded, that is to say that everyone can play them alone. You are not going to improvise your guitar solo in the studio, work on it first!
4) To be in good shape, to eliminate the problems of person, of ego... the musical cohesion that passes mainly by the human cohesion, everyone must pull in the same direction.
5) Taking live rhythms: try as much as possible according to the musical level of each to be as straddling as possible on the rhythm, square, you have to be square. The level of your drummer is... decisive.
A particular mention for the song which is at the center of the final result, it is necessary to have worked beforehand before: the accuracy, the intention and the rhythmic placement... You can conceive the most original piece which is, if the song n isn't ready, your end product won't last. Otherwise, there is software to correct all that but it will take time... a lot of time, count a good big half-day per title for voice recording and editing by hand.
Choose the recording studio:
The rates
Like many things, it is the sinews of war. Do not expect to find a studio worthy of the name with a sound engineer at your disposal without paying at least 300 euros per day: the work, the rental, the use of the premises and the equipment are not free.
Plan a reasonable budget depending on the number of songs you want to record, the arrangements you have planned, the number of external musicians you want to add… knowing that time is money and the more ready you will be. .. the less time you will waste…
The studio equipment
As with a musician, the tools of an audio engineer are revealing.
Without wanting to start a controversy over digital vs analog, the choice of studiodulac is to enjoy the best of both worlds.
The place, the environment, the final preparations
It may seem trivial but you have to feel good where you record, it is a moment that finalizes a job, and it is better if it is in a place where you feel comfortable, calm. Be careful, everyone is there to give the best of themselves, so you are still in a working atmosphere but if the environment is pleasant, that's a plus.
How will the registration be organised?
The sound recording
It is decisive, in any case from now on you are in the hands of the sound engineer. Musical logic dictates that for each piece we can try different takes, but that is reserved for those who have the time and therefore the money.
That said, you must first have defined your general sound color, so have found individually and especially in groups the desired equipment and of course the appropriate settings.
And why not do live takes even if it's more demanding?
For some time the fashion is to record separately, we start with the drums, then we record the bass ... etc, all that click of course. The defenders of this method will tell you that it is a comfort, a time saver, that it allows more freedom, that in the end the product will be much cleaner, moreover many musicians work like that and patati and patata .
It is true that this method bears fruit in the professional world which, for reasons of staggered schedules (the musicians are not necessarily all there at the same time), uses separate recording.
Good, but you who play in a group, and who of course take pleasure in doing so, why not try to restore a musical complicity which is best expressed by playing at the same time? And above all, what makes the sound of a band? The equipment used and its mastery, okay, but it is above all the number of hours spent playing TOGETHER.
What makes a good group is not necessarily the added technicality of each of its members, but it is much more the complementarity (which also requires a certain form of technicality, let us say musical qualities). A good set up (that is to say everyone in their place) makes the cohesion and therefore the musical relevance of the group.
Everyone will have understood that to consider live takes (that is to say at least Bass-Guitar-Drums), you have to arrive already ready, to have already registered with the click, to have checked in particular that the rhythms were set.
On this subject a remark, it is preferable, even strongly recommended that the bass player and the drummer have worked on their rhythmic cohesion. The "bass-drums" couple is very important, they are the foundations of a piece, if they are wobbly the rest will be too.
When listening to your music again, concentrate on the placement of the bass notes on the different elements of the drums and more particularly on the bass drum; take care of the introductions, the revivals, the ends of the pieces and rotate the different parts to find the keystone: the GROOVE.
The click
First remark: using the click without the musicians of the group having got used to working with it, it is useless.
To take advantage of what a click can bring, it is necessary to master it (advice: each musician works on his parts for six months, every day, at the click... and you will see, it fits).
Let's quickly go over the usefulness of the click to facilitate re-re. If it is mandatory when using machines, samples, etc. when the musicians are in the flesh, we can afford to do without them. Many songs that you all know were recorded without clicks, just one famous example, the Clashs Brain New Cadillac on the London Calling album, it's not regular, it speeds up all the time, but it's precisely this constant acceleration which makes the charm of the piece…
This means that whether or not to click must correspond to an artistic requirement. But you should know that in the majority of cases, being regular is precisely an artistic requirement :-).
The "re-re" (re-recording)
If the rhythmic takes are square, with the desired intention, the re-re after, it's only happiness or otherwise, it can be a big disappointment. Just a few remarks:
For the guitars, especially if you play three (guitar, bass, drums), double them using different configurations, this enriches the sound and in addition it allows the mix to have stunning effects. If you use effects, it is better to use them when taking: the speakers have a lot to do with the quality of the sound, and adding certain effects afterwards such as Big-muff, or plug-ins... can be turn out to be very disappointing.
The voices: then there is the test of truth. For the Lead voice or vocals, if you are not up to speed, it will quickly become apparent and there we enter into all kinds of fiddling in which sound engineers are specialists. Beware of backlash if your voice is not in concert like the one that was recorded, it will be heard...
A vote, it's unstoppable, it passes or it doesn't, and with the best will in the world and all the work you want, it won't change much in the matter. The quality of the voice will be judged much more harshly than the rest by those who will listen to you, I let you guess why…
Finally last remark, in re-re, in addition to the ideas that you had prepared, if you have time left, above all do not hesitate to record a new idea (percussions, guitar or piano notes, etc.) what seems to you to improve your title, after the mixing you will keep what seems relevant to you.
The mix
First of all, it is not recommended to mix immediately after the takes. Give yourself at least a good fortnight: your ears are tired from having played, then listened, then replayed, then listened to your songs again. You have to create a vacuum, let all this rest.
Until now you had listened to your future work flat. During the mixing sessions, we will have to create an atmosphere from all that. As in the kitchen, the more the ingredients are of good quality, the more the cook will be skilful, fine, inventive, the more the final result will be conclusive.
Rehearse your tracks...
Recording is an opportunity to fix a song, so it is better to put the odds on your side to produce the best version possible. To do this, rehearse your songs well and make sure that everyone has the same vision. How many times have we heard: Ah! you did that at that place there on the bass. If you realize on the day of the recording that you don't have the same structure or the same details of breaks or arrangements in mind, this could give a amateurishness to your production and waste not only your time and energy.
When you leave for the studio, you think you are ready and your songs are playing well on rehearsal. If you take the time to record yourself and listen, you will see that you are not in place, that there are a lot of drifts, a few notes that come from who knows where. In the studio, this will not forgive and there is not much room for the amateur if you want to engrave your work.
It is possible for you with a simple smartphone to remedy this. You have to record yourself, listen to yourself, become better thanks to a fairly simple technique: Start with a single piece, or even two, but no more to settle on the quality of the recording. Then you can go faster. Record your reps and you will see who worked and who didn't. We strongly advise you to do so. You might have a little trouble getting a balanced mix, but as long as you can hear everyone, that's the main thing. Thanks to this listening, you will better understand your piece from the outside and above all, you will see the points to improve. Don't look for perfection, it doesn't exist...
It is also important to give your body and mind time to assimilate the repetition sessions, especially when they are close together over a short period of time. It is therefore better to take a few days of rest before a recording session, which can also allow you to regain a dynamism and a pleasure that one feels less after intensive rehearsals.
Good ! After all, we make music to have fun! So don't take everything at face value! Save the moments of work and the real moments of energy that give pleasure. These moments of work are only there so as not to waste the money that you are going to put into the production of your album and to allow you to move forward. Moments of rehearsal are magical moments to live intensely so keep cool
Think of the metronome
Playing in the studio requires much greater precision than playing live, since the slightest inaccuracy can be heard on the recording. This affects the quality of the result and reduces the editing and mixing possibilities.
To put yourself in these conditions, get into the habit of repeating “on click”, ie with a metronome. It can also allow you to get used to studio recording conditions, far from the energy of live where the audience often helps to push yourself as a musician or singer.
When recording, it's up to you whether you prefer everyone or only the drummer to click. You can also decide, especially if you are recording in a group, that nobody has a click in order to preserve a natural momentum, but keep in mind that this will probably make your song less precise.
Determine the desired result in other words: Set yourself a goal!
A primary question is why you record your tracks. To distribute a model to professionals? To make your family and friends listen? This will weigh on your requirement and help you determine, during the recording sessions, which tracks to keep and which to redo to obtain the desired quality.
Choose the order of the songs
We can't say it enough, recording in the studio can be destabilizing when you are not used to it. Anything that can be used to build confidence is useful and even the choice of the order of the pieces is important. Stumbling on a song can be very frustrating, so it is better to start with the ones you know best! This will allow you to approach more complex songs with more serenity.
Prepare your instruments
Tune all your instruments carefully and remember to do so regularly during your sessions. If you plan to record a drum set, don't forget to have its skins tuned! For this, it is best to go to the store to seek the advice and services of a professional. Ask the sound engineer if it is not appropriate to change the skins of your drums, there is nothing worse than recording tired skins...
Change your batteries for new ones
How many times has this happened in the studio... especially if you have a battery-operated guitar or instrument (active or electro-acoustic guitar... and wow! when recording, the batteries are dead... Check your batteries with a voltmeter or better: buy new batteries before coming to the studio :-).
Repair your instrument
The day before recording, it is too late to change your strings. For the basses, you will have to think about it at least a week before and change the whole set at the same time to maintain a homogeneous sound from one string to another. If you need to change gut, metal, nylon or Alliance strings, allow enough time for them to stabilize at the desired height. Take care of all the little buzz and other noise that doesn't normally jump out at you but the microphones won't let through. A visit to your luthier a few days before may not be in vain.
Warm up!
If you are used to playing live, you have probably noticed that you usually play better at the end than at the beginning of a concert. It makes sense, your body and mind need to get going! The same is true when recording, so it's best to allow time for you to warm up and play the songs a few times before you start recording.
Manage your time and energy
In general, as you have seen in the previous tips, managing your time is the key to a successful recording! Plan how long you will need to record and do your best to stick to it. This will save you unnecessary frustration polishing a piece - better go ahead and finish everything on time.
Managing your time also means looking for a good pace for your sessions. Nothing kills enthusiasm like a long wait, and if you take too many breaks because you are not prepared enough, it is likely to affect overall engagement.
A good mastery of time is essential during recording sessions. A whole morning is not too much to install everything. This implies that you have decided beforehand how you are going to proceed: from the placement of the microphones to the planning of the songs to be recorded, day by day, thinking of the many breaks, food, the essential bottle of water, etc. If you work alone and with your equipment, the risk of seeing the days go by without ever finishing the work is great and you have every interest in strictly respecting the schedule that you have previously defined.
A good way to apprehend time is to opt for an order of the pieces to be recorded, from the simplest to the most complex. If you can't finish recording the first, easiest track in the time you allotted, you can be sure you won't be able to finish the entire album in time. To keep a consistent sound from one piece to another, it is important not to change the position of the microphones once positioned and to keep the equipment settings throughout the sessions. If you have to interrupt your recording, in the studio, for lack of time, think that other musicians will come after you and that the sound engineer will not only have to change the configuration of the place but also modify the settings of his equipment.
Get to know yourself
Since you can't know how you will react in a session, especially if it is your first recording, test your behavior by making a few quick takes, at home, for example. You don't need fancy hardware for this because the payoff is more in your ability to play knowing you're being recorded than in the recording itself. A simple microphone connected to a computer, a mobile phone with the record function will do just fine.
Adapt your game
Studio recording and live performance have absolutely nothing to do with each other. The energy that you give in concert in front of an audience several tens of meters away does not have to be for microphones placed only a few meters from you. In order not to deteriorate the sound, adapt your playing by playing much more lightly during the recording, you will thus preserve the natural color of your instrument.
Print your texts in 3 copies
So that the sound engineer can follow your words and take you back into the structure of your title, it is essential to provide him with a copy of your texts. Also provide copies for the members of the group and for the director/producer if there is one to guide you so that he can annotate the delicate passages, or even cut in your text! . So 3 ex is a minimum, don't forget it.
And finally... Enjoy the experience!
Registering is a significant step for a musician and can allow you to understand your playing in a new way, so make the most of it! For a group, a recording represents work but is also a privileged moment, the concentration and the excitement which can help to tighten the link between the members. If you communicate about your project, a recording can be an opportunity to reveal yourself in a new light, so you can take the opportunity to film all this... and add to your CV ;-)
Texts "copied / pasted" and freely adapted in respect of the story of their respective authors, here are the sources:
https://www.zikinf.com/articles/scene/save-studio.php
And after? what are the mistakes to avoid?
Mistake #1 of drummers:
5 mistakes to avoid for band members in the studio!
3 mistakes to avoid for bass players in the studio!
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