Studio Preparation Guide

Years ago I put out a flyer with tips I felt would increase the average writer's productiveness in a recording situation. Some folks at (Los Angeles Songwriter's Showcase) L.A.S.S. caught a glimpse of it and asked me if I would write something similar for their MUSEPAPER. It has been a long time since 1990 when the article was first published and I’m still getting requests for copies of it. Even better, I see people plagiarizing me all the time, which in this case is flattering. Most of everything still applies but a few things have changed so I'm rewriting it for the Y2K artists. Remember that the procedures are redundant and that's why creative types need something in writing to look at in order for it to really sink in. So, in the tradition of repetition, here are the same things you've always heard and thought about, but never could coagulate long enough to finish a good product. I hope it helps.

1. Pick your song carefully. Listen to your song with a truly discerning ear as if you were someone else, or, better yet, have someone else give a listen. OK, so I hear you all shouting out "if I haven't been in the studio yet how do I get people to listen?" If you haven't got a copy on a cassette tape then you haven't copyrighted your song yet. Sure a lot of people send in lead sheets but if your reading this my guess is that you aren't one of them…. right? Well, now is the time to make up for mistakes. You can obtain copyright forms by calling the Library of Congress or you can download them from this website (and the PD F copyright files here are the kind you can type into and print nicely, instead of scribbling in everything with a pen!)

Pick up your guitar, sit at your piano or just bang a drum but sing the melody, record a legible copy and send it in with a lyric sheet and a check for $30. Send it Certified with Return Receipt so you know they got it. Oh yea, make a copy of the form and cassette you send in. It's that tape that you can show folks when you don't feel like entertaining live. Music is art but recording it is usually done in hopes of making a profit. If your friends don't like it do you really think a stranger will? If they don't, something as simple as changing a few words or a phrasing or two may change their mind. Ask what it is that makes or breaks the song and find any weak points. Your future may be riding on just a little bit of communication.

2. Prepare chord charts ahead of time and practice any parts you intend to perform yourself. Trying to record without charts is possible but it's on par with building a house without a blue print. If you are unable to prepare charts on your own, find someone who can. Now that your songs are copyrighted and you have weeded through them you are safe to let strangers hear your material. Charts don't have to be made to look like an elaborate score. Most sessions go off fine with just a lyric sheet with chords written over the appropriate words. If there is an instrumental break somewhere in the song, just list it as bars and chords. If specific parts are to be played in that section, just write in the minimum amount needed to get your point across. (Tip: since you need charts anyway you might want to add one to the package you send the copyright office. I do and sleep better for it.)

3. Find a great vocalist that fits the style of the song. Most good producers and arrangers have a list of vocalists and musicians they know who can cut the gig. The time it takes an amateur to record a good vocal often ends up costing more in studio time than a professional vocalist would have cost in the first place. The results aren't usually as good with the freebie singer either. Also, think about the type of background harmonies that you feel would be appropriate and plan on vocalists for those as well. If band members are doing all the singing it's a good idea to have a few vocal rehearsals and work out the parts when the meter isn't running.

4. Each instrument will need enough time to "get a sound" as well as record. "Getting a sound" not only refers to the time it takes to mic and EQ, but also the time it takes to set noise gates and other sound processors used in creating original timbre. In accordance with this thought, don't forget that if you rush a performance you might as well forget about getting a good feel. If you plan on using a home studio, you should check to make sure that the studio owner has enough equipment and space to set everyone up at once. If he doesn't it isn't a big deal as long as you have the time, ahead of time, to scout out the right goods for the gig. Microphones are very expensive and most small studios don't have a huge selection on hand so do your homework. You need to make a decision about the final quality of your demo. Class your demo as either an A or B demo. "A" demos are those you would like to show off to record folks who really want a finished product which is most the time. A "B" demo is one that is a pre-production work where drum sound and the like aren't a concern because you are only looking for the parts and how they fit together. Bringing in examples of songs that have the right sound or mix will help communicate your thoughts a lot faster then words.

5. Using a computer with external recording devices is great and fast but be prepared to spend a few minutes "striping the tape" and/or to lay down a click track that is the exact tempo of your song. This doesn't usually take that long and the down time should be used to fine tune your instrument or warm up your voice. Regardless of the recording devices used, there will always be set up time to deal with. Rushing your engineer isn't considered to be a good idea so learn patience.

6. During tracking your ears may become tired and good things may start sounding bad while bad may sound good. Try to take short breaks every now and again. It's always a good idea to have some of your favorite CD's around to pop in the studio board for a listen. Once again, if you pick CD's that are similar to the sound you are aiming for it will help tune your ears for the sound you are looking for. This is particularly true during mix down.

7. When the entire recording is completed, you will need a fair amount of time to "mix-down" all the tracks to a master. A mix down usually takes a long time and tuning your ears is crucial. Don't cut your budget back by trying to rush a mix! If things get out of budget in your planning, then cut back on how many instruments you need to use or substitute a sampled instrument in the place of a real one. You can't fix it in the mix unless you have the time and budget. Another tip for the mixing stage is to play back at a level you can talk over. High volume has a way of compressing loud tracks and expanding soft ones. Playing it loud is the fastest way to leave yourself disappointed when you get home and are playing it back again. After it sounds good at low volumes, then crank it up. By then your ears will be dead anyway.

8. You need to coordinate with the people you plan to record with, before you go in, regarding your need for reel-to-reel tape, DAT or CD's because they may not have any on hand. Checking to see what they have on hand never hurt anyone.

9. Remember that if you book time in a studio, the time you book is the time you start to pay. Even if the studio cuts you a little slack about showing up late, people are only human and there's bound to be a hard feeling or two that may rub off on the quality of the session.

© Danny Taddei 1986, 1990, 1999
All Rights Reserved.

Wednesday, July 14, 2010