10 Things: Be Laser Focused

Be Laser Focused:  10 Things that can add to the overall cost of your studio project

By Devlin Miles

  1. Inflating the bill-
    • Extra tuning hours when you can’t hear a difference from the original,
    • Taking several takes of something that isn’t working, be mindful of when something is not working as the clock is ticking. Consider attacking it with a new approach the next session.
    • Working with a musician that doesn’t have the right skill set. If after many different directorial notes, the musician isn’t able to give you what you want on a song, move on to the next one and find someone who can. People can misrepresent their skill sets often because they need the money. Don’t sacrifice the integrity of your song because of a bad drummer, who drops the beat or a pianist who can’t play the organ too.
  2. Listen backs – listen backs are important, so be sure you know what you are listening for – you might need to focus on the bass line at this moment or hear how the vocals are EQ’d In this moment, make a note if a drum track is too loud or the guitarist hit a wrong chord, but stay on point with what you are listening for and then when it is addressed add your other correction. This is very important for bands, all band members are going to innately listen for their parts, so make a note if your part needs to be fixed, but know when it is productive to bring it up. Many different inputs about different items that the producer/engineer is not focusing on at the moment can waste time. It’s like someone interrupting your train of thought, stay focused with your listening!
  3. Kitchen sink – this is not the time to try out every instrument on your tune. Of course it would be cool to hear your song on an obo or perhaps add a piccolo solo, but if it is not a main instrument in your tunes and you don’t know a piccolo or obo player, don’t go out of your way to bring one in, keep the budget in mind, if you really hear a specific instrument on only one tune, then see if you can send it out electronically to get it recorded and fly it in to the track. Remember everything you add will add to the overall mixing time in the editing.
  4. Quality – when you receive your reference mixes, if you are concerned about the quality, speak right up to the engineer/producer. It shows you are really listening and that you expect higher quality right from the beginning (See Also 10 Things Producers/Engineers should know in working with Indie Artists) They should take pride in their work at every step of the way and know that their reference mixes are their calling card too.
  5. Organized – I tend to harp on organization, but when you are dealing with electronic files nowadays, you need someone that knows how to organize their folders, so they can easily find things and access them. Note if you are working with analogue recording because you like the warmth and are crossing with the digital world too, know that it can be time consuming to “fly” in tracks from other studios or to find previous takes to pull snippets, so be sure that you know up front how well this producer/engineer can move from analogue to digital. Yes, recording analogue is warm and lovely, but if the producer/engineer is working with analogue because they themselves haven’t tried the digital age, that can be very telling about how pliable they will be with ideas and flexibility. (Note this is not something, someone will readily admit to being disorganized, so look for red flags)
    • How organized is their studio or home if they have a studio in their home?
    • Is their equipment organized?
    • How has your communication been with this person? Prompt?
  6. Work ethic? – This is hard to tell until you deal with someone, but you can find out some information about a producer/engineer by contacting other people the person has recorded with. I would contact 3 other bands/artists if possible and have this be one of your questions. Also ask the referral – “Did you feel working with John (producer/engineer) that he is fair and honest?
  7. Convenience – how convenient is it going to be to get people to the studio. Yes, I too loved the idea of recording in the woods somewhere where we could focus only on music for days, well, it was all great being 3 hours away from NYC until I wanted to incorporate working with some of my local musicians for overdubbing piano or background vocals and got very complicated and costly to get them their, so I had to compromise. I also personally found it taxing to have to travel 3+ hours every weekend for 6-8 weeks.
  8. Gear – when you are working with a producer/engineer chances are they are going to have tons of gear and it is all going to look very impressive when you walk in, but don’t forget to ask the questions that matter to your band. “My voice needs a dynamic microphone with a pear shape, so that my high voice doesn’t get too tinny”. Also if you see a Hammond B3, Rhodes, Grand Piano make sure to ask if it is in operation and if it will be tuned and ready for use? If they are using their gear to sell their studio to you, it should be in working condition. Yes, this happens a lot! Beware!~
  9. Vocals – it is a good idea to have 1 other person there besides the engineer/producer in the studio when you are recording vocals. Unfortunately, it can be an intimate thing when you do vocals, however if the producer/engineer is having technical problems and are addressing/adjusting levels they may not be as focused on the actual vocal performance. Yes, I made this mistake and had to re-record leads to half an album because I wasn’t happy with my overall performance. It happens and it gets costly. Preferably have another singer there, one who knows how to coach a singer- not necessarily even someone from the band, but someone who understands vocal phrasing, another indie artist would also be great and might be able to lend some background vocals as well. Note: if you pick someone who doesn’t know how to coach you, for example if they critique you more than coach you, then you will probably get pissed off, which will in turn show up in your voice, so choose wisely and maybe have a rehearsal with them. There are also vocal arrangers for hire too. See also Raise The Spirits: 10 Things to do when you are recording vocals
  10. Crispness – when listening back in studio on recording day, solo out every instrument
    • bass – can you hear the quality of the bass or amp?
    • drums- check that every instrument in the kit is being heard for each song and is mic’d appropriately (overdubbing nightmare, if not and costly)
    • acoustic guitar- sounding crisp, good muted sound and open strumming?

NOTE:  It is wise to address concerns here if you are not hearing things as they should be. Yes EQ-ing comes later when the musicians aren’t in the studio, but if you have a heavy tom song and they are only mic’d with one overhead it will sound muddy and might have to be recorded again. If you have a lot of toms or cymbal work on a tune, pay close attention that all instruments are mic’d individually. You are paying for crispness. Anyone can record with room mics – this is the producers/engineers time to shine. It also gives them a chance to make sure nothing is recorded too hot. (can’t really be fixed later in EQing, if something is recorded at too high a level it is like trying to save an overexposed picture- you will lose a lot of instrument detail and the sound will be distorted)

10 Things- Be Laser Focused PDF 

10 Things: Directing Your Project

Directing Your Project:  10 Things to ask when interviewing producers or engineers for your project

by Devlin Miles

  1. Are you a producer or engineer? – This can be a murky line in the professional world, so be clear what you are looking for – do you want someone to capture your sound as a band or do you want someone to help you define your sound with instrument choices and arrangements and possibly save you money by playing some of the instrumentation for you.

A producer will help you with the overall sound and help with the choices for the song. The producer also might help arrange a tune, or some are multi-instrumentalists and can play on tracks, which might save you money, but ask the questions up front.

An engineer is someone who is going to help record your sound and have very little to do with the overall sound of the album other than the sonic flavor, they might have an opinion here and there, but they are not going to take accountability for your overall sound, would rather record the band’s sound. This is great for bands or for multi-instrumental artists or a control freak who really wants to control every aspect of the song.

 Note: Neither may have any theory knowledge to help you when needed with harmonies, etc., so ask them if they play an instrument and if they can hear when someone is pitchy.

  1. Can we back up every session? – Is file management included in your fees, which means backing up every session or bouncing down files and exporting all the final files and mixes, this takes time and should be dealt with in the beginning?
  2. Tuning– Do you tune vocals, what program do you use? Are you a singer? This is very important when recording vocals, if the producer/engineer is a singer they will have a better understanding of the voice and performing for pitch perfection- if not, you might want to consider having someone there to coach the vocal parts. A vocal arranger can help with phrasing and tonality. This will overall save you money, if people can sing on pitch and get the right effect, this person will pay for himself or herself, otherwise you will be spending that money and more on tuning. You have to sound radio ready if you want to compete, so tuning is pretty much expected, so prepare and budget for it. Good or bad vocals can make or break a project.
  3. We all make mistakes – if you make a mistake that involves us re-recording any portion of the project.
    • Will you take accountability for it?
    • Will you credit me for the time?
  4. How does editing work?
    • Can you work unsupervised? Will you communicate editing hours to me, so I can budget accordingly?
    • Do you charge hourly?
    • Do you guarantee your mixes, if we need to tweak something- will you without additional costs?
    • Are you ok if I chose to mix my album elsewhere?
  5. Are you familiar with…? (insert names of similar sounding artists to you) and can you help me get that sound?
  6. Do you have a team of musicians with whom you work and recommend as I am looking for (cello, keyboard, etc) for this project?
  7. Are you equipped to send files electronically and possibly incorporate other studio WAV files? Sometimes you might find that you need someone to record background vocals in another city, so you need to work with a studio that is able to share files easily.
  8. Based on what I have described can you give me a written estimate or proposal? – This is really key to holding people accountable for their actions. Most people on the production side are also musicians, which means they may not be great at the business, so be sure to get an estimate in writing, so that you have proof how much you need to budget. (See Know Your End Game: 10 Things to budget for when recording your indie album)
  9. Have you listened to my music? – This may seem basic, but if you don’t ask the question- you won’t know and people have busy lives, it will indicate how available this person will be to you. Express what you did like about that recording and what you learned from it and are looking for in this project. If you expect the vocals to be a similar quality or the overall sound to have the same genre feel, make sure they have listened to your music at least 3 tunes.  If not listen together and get a feel for his/her reaction. Some people just need the money and they may not be passionate about your project and frankly it will be like pulling teeth to get what you want from them, so just as artists are a dime a dozen, so are producers keep looking!!! You want to work with someone who likes your stuff; it will show in their work and follow through.

10 Things-Directing Your Project PDF

10 Things: Be The Best

Be The Best: 10 Things to do before you get to the studio

by Devlin Miles

  1. Practice your instrument – if you are planning on recording your own guitar parts or singing your lead/background tracks, you must practice and polish your tune with a metronome playing the expected tempo.
  2. Record roughs and find the problem parts of your song – what sticks out as a sore thumb in the recording will be, more than likely, a problem in the studio.  Take the time and fix it or perfect it before you get to the studio
  3. Make choices – in the studio I have been asked to make things 4/4 timing even if it is a vocal part that takes the song out of time for a minute.  In the past, I have bent to others wishes, not realizing that they are the unique parts of the song.  Know when you are making a choice to break form and stick to it, as it may be a unique choice of yours.  Also recognize when it is an error you have gotten used to and really should be addressed before studio time.
  4. Decide on tempos and keys whenever possible before getting to the studio, sometimes you might edit this a bit when you are in the studio, but have a good idea of the tempo you want, there is nothing worse than speeding a tune up so much that when you go to do vocals it has completely changed your phrasing and vocal inflections.
  5. Charts and Lyrics written out – Have the charts done and lyrics typed out and bring a copy for every musician, even if you sent them the material over the Internet.  There is always one person who forgets to bring their notes.  Best to be prepared.  Also if you don’t know how to write charts- find someone who can, it will save you aggravation in the studio and make notes right then when you change something on the fly or later you will be trying to figure out how they played that.
  6. Find the right musicians for your project– if you are recording a rock album, don’t hire a folk musician and vice versa.  We all have our strengths as musicians and even though someone might be an excellent player in their genre, they may not be versed in your genre.  Don’t be afraid to audition people- the musician may not be honest with you, that they are not the right person for the job.  Know what you want and find those that can help you deliver your product
  7. Write great songs – don’t stop when the song is ok and you know the bridge needs work, write another bridge.  Make the song as strong as possible and test them out on people – perform them live or pop into an open mic and try out new material.  Hey Jerry Seinfeld does this all the time to try out new material.  Remember if it is a great song, people will be excited to be a part of it.
  8. Be selective – don’t just write 12 songs and say we are ready to record an album, keep writing until you have great songs.  You’ll know when you are ready to record when you have gotten a great reaction from the live crowds and they are begging for a recording of the new stuff or when you are bursting at the seams to share them.  You also don’t have to record every song you write.  Make every track count!  Ask yourself –would a record company back this song?  You are the record company.
  9. Get a reference – find songs that have the feel and vibe you are going for – sure we are all unique in our own way, but we are also under the influence of others and it will be important to the others on the project to help bring what is in your head out.  People cannot read your mind and it is better to have a reference to bring people to your school of thought.
  10. Be organized – we all have our strengths and some people are inherently more organized than others, but it is crucial to the timeline of your project for you to be orderly.  Have each song in it’s own slip folder, so you can quickly reference it as you go along and make production notes every time you listen back, so you don’t forget.  When you are recording a whole album it is important to have every song have it’s own identity. Yes, tracks might have some similarity, but every song shouldn’t sound like the next.  If they are sounding similar the problem might be in the melody or in the chord structures, in which case you are not ready to record yet.  (See also Get It Together: 10 Things Indie Artists should bring to the studio)

Be The Best  PDF