Micro-Studio TIP: High and Dry

Another TIP for the micro-studio producer: High and Dry

There is a crazy dichotomy in the recording of tracks when it comes to effects processing. Here is the dilemma ...

1] Adding the effects later in guitar or vocal or keyboard tracks make more sense because you have MORE CONTROL of the overall sound when adding the FX later. The 'perfect' sound can be engineered this way and fed into the mix in a much more intelligent way. Besides, today's digital effects are SO much better (usually) than ANY outboard gear that will process the instrument BEFORE it is recorded.

OK, that makes sense to me. It sounds like good advise to me. Until I heard the next argument.

2] Expecting to get a solid performance from an artist, in particularly an electric guitarist, simply CANNOT be achieved in a dry track. The FX makes a big difference in HOW the track is played WHILE it is recorded. Asking the player to 'imagine' the final sound is out of the question. Plus, the chance of finding just the 'right' FX in post production is like a needle in the hay stack.

Wow, sounds logical to me, too. So, what should we do?

See, when it comes to the digital drum-vs-acoustic-drum-set problem is really an easy one to solve. Simply allow the player to play his (or your) actual acoustic set, then trigger the sounds digitally without telling the drummer. :-)

But the guitarist often cannot play the same 'dry'. And certainly will not usually 'feel' comfortable doing so, either.

MY SOLUTION:
Only hire professionals who have practiced the tracks 'to perfection' and can play them WITH OR WITHOUT the proper 'sound'.

Sorry to be so blunt, but unless I am recording it "Their' way (and 'they' are paying me to do so), I need to at least expect that much professionalism.

To add insult to injury, I also expect them to PLAY TO A CLICK TRACK.


Sorry if that is asking TOO much of the players,
-Jack

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

Testing...Testing...

You've found us! Sit down, we've got lots to talk about.

First off, let me introduce myself. I'm Jack Sanner, that awesome, terrific, stupendous, and very humble person (a great-guy-once-you-get-to-know-me) that hails from just outside of Pittsburgh, PA USA. Google me for all the details.

My micro-studio has been active for over 15 years, going from a 4-track cassette tape (remember those?) to a full digital in PC recording deck.

I've been around a while, have some strong opinions, and lots of experience...

...so let's talk.
-Jack

PS: comment here & we'll discuss the topics YOU want to here.