The Micro-Studio Secret to Quality Tracks

If there is ONE secret to producing great tracks in the micro studio (and there isn't just ONE, is there)...

Then I must mention the importance of 'the digital room'.

Let me explain.

In the traditional studio, both pre and post multi-tracking (1960's) the room in which ANY track was recorded was ESSENTIAL to the sound of that instrument. (I remember in the olden days, even hauling long wires into the ceramic-tiled BATHROOM just to get a good background vocal track. Yes, I'm THAT old!)

But today, the room is of little consequence to the track's presence, except for one thing. Background interference.

Now this is not true in large ensemble tracks like

• orchestral sections,
  
• large vocal choirs/groups,
  
• or other ensembles.
  

Here the room characteristics still greatly come into play in the overall sound of a track. But for the majority of what is done in the micro-studio, the actual room has little to do with the final sound. How can this be?

Because today's BEST technique is to record the source (instrument, vocal) either

1. directly to the recorder (electric guitar, keyboard) or
   
2. in close proximity to a quality (and suitable) microphone.

But by doing this we now create a problem. What we get is a track that sounds as bad as a direct line off the mixer board at your latest gig. "Box-ey" (like 'in-a-box') is the word I use to describe it. So why record it this 'dry'?

Because....

1. We can edit, tweek the EQ, take out the vocalists breathing, and otherwise enhance the quality of the track
2. BEFORE we add the "Digital Room"!

By perfecting the actual track BEFORE adding the ambience (digitally, of course) we can achieve a better track, with more presence, more personality, and even better overall specs, technically.

Don't...

1. Fuss that the track will be 'too up front' in the mix. That is exacly what reverb and echo produce.
2. Add TOO MUCH effects while doing this. Be sure to think of the mix of tracks in a close-far relationship and plan each according to your target style of music.
3. Get carried away with mic placement. I remember the trouble I had in a recording session with Finegan's Catch & the tin whistle (pennywhistle) track. It is HARD to get the mic placed close enough without catching the constant air coming from the fipple. So, in sucj a case...punt.
   

More on all that later, though. "Stay Tuned",
-Jack Sanner