Recording? Some thoughts...

A little tirade: Recording.

Recording, in my view, is serious business. Especially for the engineer (me) and the producer (me again). Much of it is skill, with a little magic thrown in. Mic placement is everything, specifically on the drums. I'm a big fan of the Glyn Johns technique, and once you get the mics in that "magic" zone, they need to stay put. Even with judicious use of the measuring tape and blue tape to identify stand placement, the last thing you use are your ears. This takes a little time but it's worth it in the end result.

Also, the producer (me) has to have the trust of the artist (loose term) to get good sounds. The producer will also suggest changes to the arrangement of a song in order to get a great track. This could be changes to the form, tempo, breaks, beginnings and endings.

Make sure you are tuned, and continually check your tuning. While pitch correction is possible, I don't have the time or inclination to do the work for you. Do the fecking work. Be prepared to record.

Here are some final thoughts:
1. Listen to your producer. He knows what he is doing.
2. Listen to your engineer. He knows what he is doing.
3. Check your ego and preciousness at the door.
4. This is work. Party after the work is done.
5. The producer decides when the work is done.
6. Don't be a poosey.
7. Don't be a baby.
8. Don't be a Xerox machine. I wanna hear what you do, not what some other artist has already done.
9. Play the parts like you own them.
10. Don't suck.

:mrgreen:

Good ol' number ten. :razz:

Somewhere on the internet is a screamingly funny book about one engineer's experience recording an album with an unidentified band. These rules are violated time and again, to extremely hilarious effect. I think we have talked about this book in the forum. Does anyone remember this?

I need that book! :lol:

Sounds to me like you might have lived that book, Fezz!

I'll never make it past #10. I'm still trying to achieve adequitaquacity.

The ordering from 10 to 1 is pretty much the way I would want musicians to walk into my studio. Great insight there, Fezz.

A little tirade: Recording.

Recording, in my view, is serious business. Especially for the engineer (me) and the producer (me again). Much of it is skill, with a little magic thrown in. Mic placement is everything, specifically on the drums. I'm a big fan of the Glyn Johns technique, and once you get the mics in that "magic" zone, they need to stay put. Even with judicious use of the measuring tape and blue tape to identify stand placement, the last thing you use are your ears. This takes a little time but it's worth it in the end result.

Also, the producer (me) has to have the trust of the artist (loose term) to get good sounds. The producer will also suggest changes to the arrangement of a song in order to get a great track. This could be changes to the form, tempo, breaks, beginnings and endings.

Make sure you are tuned, and continually check your tuning. While pitch correction is possible, I don't have the time or inclination to do the work for you. Do the fecking work. Be prepared to record.

Here are some final thoughts:
1. Listen to your producer. He knows what he is doing.
2. Listen to your engineer. He knows what he is doing.
3. Check your ego and preciousness at the door.
4. This is work. Party after the work is done.
5. The producer decides when the work is done.
6. Don't be a poosey.
7. Don't be a baby.
8. Don't be a Xerox machine. I wanna hear what you do, not what some other artist has already done.
9. Play the parts like you own them.
10. Don't suck.

:mrgreen:

Agreed 100%.

This must have been prompted by a less than stellar studio experience.

Post the rules on the wall of the studio. It could act as a helpful reference to the "artist".

Good ol' number ten. :razz:

I think #9 takes precedence.

YMMV.

Edit to add: A great performance doesn't have to be technically proficient to be great. It may be - but for me I'll take attitude over technical proficiency 100 times out of a hundred. When you have both those things going on though - it's good to be the producer/engineer.

Again, YMMV.

Cheers,
Geoff

Somewhere on the internet is a screamingly funny book about one engineer's experience recording an album with an unidentified band. These rules are violated time and again, to extremely hilarious effect. I think we have talked about this book in the forum. Does anyone remember this?

Mixerman Diaries?

Still haven't read the book version - but followed it religiously in the prosoundweb (or whatever it was back then) days.

Cheers,
Geoff

Yes, it was prompted by recent events. One track out of 10 is usable. Drums sound fantastic though on all. The others can be salvaged through some fly-in wizardry. Guitar parts are fine, but I know what the feck I'm doing.:lol:

I know some guys with fantastic attitude... who still suck.

As do I.:lol:

Yes, it was prompted by recent events. One track out of 10 is usable. Drums sound fantastic though on all. The others can be salvaged through some fly-in wizardry. Guitar parts are fine, but I know what the feck I'm doing.:lol:

Kids?

Or folks that should know better?

Either way, frustrating if you have to be the one cracking the whip.

Cheers,
Geoff

Kids. At least in comparison to me, Geoff.:lol:

We had a great place to record in, an unused house on the lake. Drums were in this wonderful sounding asymmetrical room with a long hallway off to the right. Stuck a LDC at the end of the hallway for some great ambient boom. But for me, it was recording 101 with students who don't listen.:cool:

Mixerman Diaries?


Yes, this is it. I haven't read the book, just the postings.

Those are good 'rules'. I did a thing with a relative who'd had some pretty good recording contracts with big companies back when that was a good thing to have. He decided that the $ going to the producers was wasted, he was getting "ripped off" so he'd do it himself. Oh boy...

He forgot all the rules except #10 because he sure didn't suck, but also didn't get anything done because of all the other shenanigans. It was a friggin' circus, about like taking the backstage scene at one of his concerts and transplanting it into a recording studio = party like there's no tomorrow! I didn't see a rule there about 'don't try to be a producer when yer totally wasted' so while obvious to some, it should maybe be added.

I did enjoy playing at a studio with top set-up, that was a hoot.

Of course, someone will post a list for producers.

Last one we worked with said, get a good night's sleep and come in stoned. The relationship only lasted one session.

Fezz,
It would be nice If the artist were serious that they would be willing to sign an agreement pre recording time that they will adhere to the best of their ability to your producer requests...
I know... I know.. I'm living in la la land with that statement. I do like the previous comment above about hanging your studio rules on the wall!

http://web.me.com/macmanager/Public/boylan.gif

john boylan's thoughts on the topic.

Those are excellent Randy. Boylan knows how to make a great sounding record.

Martin, interviewing a producer is akin to interviewing a babysitter. 1 out of 10 will be good enough to sit with your child.:lol: