STUDIO ETIQUETTE

Studios are small spaces and often have a lot of people crammed into them. I’ve put together a list here of things that I consider to be important in maintaining an air of professionalism when in the studio. These things may seem to be simple and self explanatory but they go along way.

1. 1. 1. 1. 1. Be clean- This should be fairly obvious but for some reason musicians have a hard time with this one. Make sure that you not only bathe on a daily basis but wear clothes that are clean and freshly laundered. Cleanliness goes a long way in the professional world. And if your goal is to someday make music your business this is probably the single most important thing that you can do to elevate your status as a professional. To put it simply, no one is going to want to work with you if they can’t stand to sit next to you.
            2. Go easy on the cologne/perfume- This isn’t quite as obvious as being clean but most people don’t realize that a small amount of cologne or perfume goes a long way. This is especially true in small spaces like the studio. It gets even worse when everyone in a studio is wearing a different brand.
            3. Be Professional- I’ve met a lot of different people in the studio from all walks of life but the single greatest compliment I can give an artist/band is that they handled themselves as professionals while in my studio. This seems like it should go without saying but as an artist/band you never know who is watching. The music industry is exceptionally small and the professionals that work in it on a regular basis talk to each other. ESPECIALLY ENGINEERS. To put it simply, be on your best behavior and show up ready to dig in and get things done because you never know who might recommend you for something down the road.
            4. Be punctual- Being on time is an important thing that musicians often overlook. Quite simply put, not being able to show up on time is just throwing money out the window. If a band/artist has scheduled five days of studio time and shows up an hour late each day, you’re going to go over budget in a hurry. And as cost seems to be the biggest concern for most bands/artists I’ve worked with it gets really irritating when a band/artist doesn’t show up on time and then complains about how much making a record is costing them. Its extremely unprofessional.
            5. Be direct/decisive/communicate effectively- Being direct and giving yes or no answers to questions doesn’t seem like it should be a huge issue in the studio but I’ve seen bands waste hours on decisions that should realistically only take a few minutes. To put it simply, if a problem arises please tell us about it directly. I can’t count how many times I’ve seen sessions go sour because someone decides to take a passive aggressive approach to a problem and ends up sulking in the corner for the remainder of the night. It’s entirely unprofessional and needs to be left at home.
            6. Leave your significant other/children at home- To put it simply, there often isn’t room in a studio for everyone to bring their significant other. The other reason I ask that people leave their S. O. home is that they are enerally not objective and are often counterproductive to the recording process. Bands/artists also have their own internal relationships and in the studio the priority is the band/artist. This relationship can be unnerving for a S. O. and I’ve seen more than one session get canceled because a band member was given an ultimatum by their S. O. to choose between them and the band. Children should also be left at home. My studio is filled with expensive gear and the last thing I want to do is bill you for a $5,000 preamp that your child just spilled his drink on.
            7. Try it- Don’t be afraid to try something new in the studio. Some of the greatest moments on a record are simply the product of having the attitude to be open to trying something new.
            8. Drugs- Illegal drugs and narcotics are never allowed. As a law abiding citizen I will call the cops if I suspect that you are bringing anything illegal into my studio.
            9. Alcohol/Smoking/Vaping- Each studio I’ve been to has a different policy on alcohol and smoking. In my studio I only allow bottled water in the booths and the control room. I do permit beer or wine during meals though. I’ve though long and hard about what to write about smoking and vaping. The simple truth is if you smoke, you stink. On top of that cigarette smoke destroys electronics. From my point of view sitting next to someone who has just smoked isn’t only bad for my health, but bad for my microphones and all of my studio gear which has the potential to cost me tons of money in repairs. If at all possible I urge you to leave smoking and vaping at home. If you can’t do that, be respectful of those of us who don’t smoke and have no desire to and smoke in designated smoking areas (25 feet away from any doors). I’d like to also note that if you are a heavy smoker and need a smoke break every hour you should take what ever your budget is and double it.
            10. Food/drinks- Studios are expensive and as such the only thing I allow in my booths or the control room are drinks that have a screw on cap. I don’t allow food at all unless it is in a designated eating area. And please at the end of the night throw your trash in the trash cans. This may seem really simple but will go a long way with whatever studio you decide to record at.

THE VALUE OF DEMOS

I’ve thought a long while about exactly what to write down about demos. In short demos of songs are often one of the most underutilized tools available to a band/artists. They don’t have to be studio quality and oftentimes a simple tape recorder taken to band practice will give you a useful tool to listen to your music objectively. The following things I’ve listed will help you get the most out of a demo and hopefully give you an idea of how to implement a demo to save you time and money before you ever decide to book studio time.

1. 1. 1. 1. 1. End user- Deciding exactly who you want to listen to your demo should be the ultimate deciding factor in quality before you decide to ever push record. Is your demo simply a tool in the song writing process or do you intend to use it to send to labels and studio executives in the hope of getting a record deal? These choices can greatly affect how much time and effort you want to put into recording a demo.
            2. Demos for songwriting- Using demos in the songwriting process is a great way to drastically improve your songs. Whether you are a full band or a single artist you should be able to objectively listen to your own songs and decide what works and change what doesn’t. It also lets you nail down exactly how you are going to perform a song in the studio. Once you get a good demo down with the performance that you want practice along with the demo until you can nail the same take every time, because this is exactly what you will be doing in the studio. And if each member of a band is practicing at home to the same demo, band practice will suddenly become faster, smoother and a whole lot tighter in a hurry improving the overall quality of your sound. Listening to demos of your own recordings will also give you a feel of what you or your groups’ own unique sound is like. No two bands sound the same and knowing what you sound like will help tremendously in the mixing process.
            3. Demos for labels- If you’re planning on sending out a demo of your songs to a label I highly recommend spending some time and money getting good quality recordings to send out. Chances are an Audio Engineer will be listening to it at some point and they are more likely to to take a band seriously if they have taken the time to invest in quality recordings. Even doing something as simple as a live set in studio is a great way to get a good demo at a relatively low cost.

-S. F. Shields

© 2017 Media Smoothie, L.L.C.

FINDING YOUR SOUND (OR MORE ACCURATELY, FINDING OUT WHAT YOU SOUND LIKE)

As a result of the many long arduous hours spent in conversations with the musicians I’ve worked with, I’ve compiled this list to help answer some of the most frequently asked questions that I have come across in regard to why finding the ‘right sound’ isn’t quite as simple as it seems.

1. 1. 1. 1. 1. You are unique- To put it plainly, no matter how much you want to sound like your favorite musician or singer, you never will. I can’t stress this enough. Even if it was possible to replicate everything from using the same setups to recording in the same studios using the same Engineers, its just never going to happen because you aren’t them. In the world of music this is a GOOD THING. Just like you can’t sound like someone else, no one else can sound like you. Its the same for bands. No two bands sound the same. Changing out one band member changes the whole dynamic of the band. Learning to embrace your uniqueness and what you sound like is the best way to become the best musician that you can be and pretty soon people will be wondering how to get your sound instead of the other way around.
            2. Your gear is unique- Just like you, your gear is unique too. Electronics and instruments may start in the same factory but over time the small imperfections in the materials as well as where your gear has been can change the sound of a piece of gear over time. This is especially true of anything made out of wood as over time there are physical changes that take place. It may not seem that obvious but most guitars and amps out there have also have controls and setting that contribute to that uniqueness. I can record the same guitar through the same amp with ten different guitar players and they are all going to have different settings which in turn will change the sound of the recording. But we can get close. If there is a particular sound that you are going for, sit down with your Engineer before you come into the studio. They can make suggestions to help you get closer to the result that you are looking for.
            3. Get the right gear- This may sound a bit harsh but no matter how much I want a Fender guitar to sound like a Gibson or a Gretsch its just never going to happen. The same goes for b brand gear. An Epiphone Les Paul played through a solid state amp is going to sound entirely different that a Gibson Les Paul played through a tube amp. If there is a certain sound you’re trying to emulate the best way I know how to do that is to start with the exact same gear because nothing I can do as an Engineer can make one instrument sound like another.
            4. Know what you sound like- Have you ever heard your voice played back on something and thought to yourself, “Is that what I really sound like?” This happens all the time when people come into the studio. It happens the most with singers but it still happens with every instrument I’ve ever recorded. To make things worse people often have very specific ways that they want to sound at the end of the day. What most people don’t realize is that as a Recording Engineer my job is to accurately record what something sounds like, not to record something and make it sound like something completely different in the mixing stage. People often times have a hard time coming to grips with the reality of what things actually sound like and they often get frustrated with the Mix Engineer in the mixing stage because things don’t sound like the ideal that they have in their head. Part of the reason that I suggest doing demos of songs is to address this phenomena before coming into the studio to record. It lets people adjust to what they really sound like as opposed to what they think they sound like. It also gives them time to adjust their sound if they need to before wasting time and money getting results that they aren’t going to be satisfied with.

-S. F. Shields

© 2017 Media Smoothie, L.L.C

SONG/TEMPO MAPS

Song and tempo maps are highly useful tools in the studio. At the start of every session if songs aren’t mapped out there are often mistakes that can potentially take hours to fix. This guide is meant to help you communicate to your Engineer things like song and chord structures, time signatures, the BPM of a song and any other pertinent song information that will eventually make its way into a session file regardless of what Digital Audio Workstation (DAW) your Engineer uses. In order to be able to map out a song correctly there are some components of music that we need to take a closer look at. They are as follows:

1. 1. 1. 1. 1. Tempo- Simply put this is the speed at which any given song is played at and is measured in Beats Per Minute (BPM). The higher the BPM the faster the pace of the song. In the studio this is what sets the pace of a click track which we use during tracking to help everything line up properly.
            2. Time Signatures- At the most basic level, time signatures let us break down a song into repetitive mathematical segments that we can sub divide into measures and beats The most common time signature is 4/4.
            3. Measures/Bars- Measures are what we use to sub divide a song into smaller pieces. We number them from start to finish and this is what we use as the base of our song map.
            4. Song Parts- The parts of a song are what we use to break down measures into. The basic parts of a song are the introduction, verses, prechorus, choruses, bridge and outro.

Now that we have the pieces we need to know we can put them in a map. Maps range from simple song breakdowns to full on sheet music. Here is a simple example:

From these simple breakdowns we can take the information that we have above and plug them into a session file that looks like this:

The end result is that we can map out the entire song from start to finish to a grid. We can also label each section of a song. This gives us the ability in the studio to properly line each take up to the same portion of a song because we know exactly where we are within a given song. If you are able to create a session before going into the studio this can save hours in time and money by adding things like scratch tracks and markers with color coordination.

-S. F. Shields

© 2017 Media Smoothie, L.L.C.

MAKING A RECORD FROM START TO FINISH

The Process– There are three major steps in creating a record from start to finish in the music world: Pre-production, Production and Post Production. Each has a significant dollar amount attached and often bands I’ve seen that skip part of this process end up with albums and EP’s that are disappointing. I highly recommend that each project follow a form of this process as they produce the best possible results at the lowest costs. Traditionally the oversight of this process is handled by a Producer. The breakdown of each stage is as follows:

Pre-production- Pre-production includes everything before a band/act goes into the studio. These include things like budgeting, songwriting, song revisions, band practice, demos and studio prep.On larger scales it can include things like travel and living expenses, transportation and even things like scheduling equipment rentals before going into the studio. As an Audio Engineer and Producer, I want to help you make the best record possible. Unfortunately the best albums produced nowadays cost thousands of dollars and tons of time and effort are often put in before a band ever steps into the studio. What I hope to address here are some skills and methods I advise all of my clients to do before ever considering booking studio time that will potentially save them thousands of dollars in time and wasted effort that are all part of the pre- production process. Some of these things are really simple but I guarantee these things will not only save you money, but help you get the best possible results in the studio as well.

1. 1. 1. 1. 1. Cost/Budget/Specs- I can’t stress this enough. Planning out a budget and finding out exactly what things are going to cost are often the biggest deterrent in recording an album. Creating a budget is often the last thing considered before bands/artists go into the studio and realistically it should be the first. I recommend sitting down to a consultation with an Engineer (I do these for free) and discussing and planning out a budget. Recording studios are not cheap and sometimes the hardest thing I have conveying to a potential client is exactly what they are paying for. Every band/artist I’ve ever talked to wants their music to sound like the best record ever made. Unfortunately the best sounding records on the radio often have a million dollar price tag attached to them. And its at this point that the sticker shock of studio time, mixing and mastering fees start to crush the bands/artists dreams of becoming a recording artist. But there is still hope. Just talking to your Engineer is the first step in eliminating extra costs that would cost thousands of dollars in studio time. The reality of the situation is that you probably don’t have $500,000 to record an album. That’s okay. Your Engineer should be able to suggest some things that will save you time and money when you come into the studio and get you the biggest bang for your buck. Release specifications should also be considered at this time to include things like duplication/replication costs, artwork, ISRC codes, press release kits, formats and any other technical information that could potentially cost thousands of dollars to correct later down the road. For an example of a sample budget click here.
            2. Hire a Producer/Engineer- If you can afford it get one of each. If you can’t afford one find someone who can at least fill the roll of a Producer. Good producers are worth their weight in gold. Their essential function is to manage the process from start to finish while pushing the band/artist to be the best that they can be. Engineers are also helpful as they can help set up things like Pro Tools sessions that are essentially song maps that contain things like scratch tracks, tempo and song structures. In some cases this can be the same person. See my article on how to choose a good producer here.
            3. Write songs- I’m sure that this is overstating the simple for some of you but you’d be surprised at how many bands I’ve seen come into the studio that can’t remember where they are at in a song and we end up wasting half a day just trying to figure out where the song ends.
            4. Revise songs- Most songs need revisions. At this stage each song needs to be critically ripped down and restructured. Figure out what works and change what doesn’t. Most song writers I know have a hard time with this and having someone like a Producer or an Engineer on hand that can simultaneously rip your songs to shreds with brutal honesty while sill being your biggest fan is essential. This process can sometimes be painful but there are a few questions that I always ask my clients that seem to help the process along. The biggest one I have is would you pay money for your own music? If not things need to go back to the drawing board.
            5. Create Song Maps/Demos- After you’ve got your songs locked down I highly recommend sitting down with an Engineer and creating some kind of demo. It doesn’t have to be high grade and can be something as simple as a tape recorder placed in the room during band practice. If you can afford it go into the studio and do a live set in the studio. After each song is locked down I highly suggest creating song maps either on paper or as a Pro Tools session so that each band member is on the same page.
            6. Learn your songs/practice- This seems to go without saying but often this step gets skipped somehow. Each song should be played the same each time. At this point there shouldn’t be any discrepancies in anyone’s performance and each band member should also be practicing with a metronome or a click track at the appropriate BPM for the song. It sounds really stupid but the biggest thing that I tell people to work on before coming into the studio is to be able to play with a click track. Something as simple as having a demo version of a song that each band member can take home and practice to helps tremendously here as well.
            7. Know what you sound like- After getting a solid demo down sit down with your Engineer and talk to them about your sound. Often times bands I’ve worked with (ESPECIALLY GUITAR PLAYERS) are overly critical of the tone that comes through the speakers at the end of a recording session. I highly recommend going over demos with an Engineer and listening to what you as a band/artist sound like. Instruments are highly characteristic of what a finished record sounds like and your Engineer can make suggestions at this point to help you get the sound your looking for. This also gives your Engineer a chance to plan for mic selection and placement to get the best possible results in the studio. At the end of the day the end result of recording in the studio is going to sound like a cleaner, clearer version of what your demo sounds like. For a more in depth look see my article here.
            8. Know your limitations- Everyone has limitations both physically and mentally. The steps listed above are put in place to find out what those limitations might be and to give you the time and the opportunity to address any issues that might arise and to give you the opportunity to grow as an artist.

Production- Once you’re all practiced up and have everything locked down it’s time to move on to production. Production involves everything in the studio. This can include studio time, equipment rentals, food/catering, transportation and lodgings and whatever else may come up while you’re in the studio.

1. 1. 1. 1. 1. Recording- At this point in the process most of the technicalities of recording should have been worked out in pre-production. Things like song maps and Pro Tools sessions should be taken care of as well as choices on whether to record the rhythm section together or separately should have already been made. You and you’re Engineer should also have a rough schedule and a call sheet for each day including meal times and breaks. If you have taken the time in pre-production to prepare for recording in advance, recording time in the studio should be minimal and yield good results. Part of practicing so much in pre-production is to build up the stamina it takes to be in the studio for ten or more hours at a time. The same goes for demos. They are there to make sure that you as an artist aren’t going to overstep your abilities. As an Engineer there isn’t anything quite as disappointing as when a band/artist comes in with good material and can’t play their own songs. I’ve stopped sessions and rescheduled them before just for that reason and each time I’ve done so it is embarrassing and costly on both sides of the glass. For more information on Song Maps and Pro Tools sessions see my article here.
            2. Take after take – This stage of the process is often skipped over but it’s important to understand as the talent that in the studio you need to be prepared to play the same part of a song over and over and over again. Some projects I’ve worked on have parts with over fifty takes of a particular song. It’s just part of the process.
            3. Studio Etiquette- Studios are small spaces and often have a lot of people crammed into them. I can’t stress how important it is to be clean and to follow good studio etiquette. For more information on studio etiquette see my article here.
            4. Have Fun-Heading into the studio can be a stressful time. But if you’re properly prepared it should be an exciting and fun experience.
            5. Deliverables- Before the raw files are released to go to post production, often the balance of the bill must be paid for in full.

Post Production– Post production is the final stage of the recording process and includes everything from mixing, mastering and encoding files to be delivered as master stereo files with song lengths, titles and production information.

1. 1. 1. 1. 1. Mixing– After recording has been completed the raw files are sent to a Mix Engineer. Depending on the project the Mix Engineer may be a different person than the Recording Engineer. Mixing is an art all by itself and is done in a series of back and forth communications. Usually a Mix Engineer will release a mix to the band/artist and will receive notes on what needs changed. Most engineers I know will do this up to three times. Revisions after that are charged for by the hour. Mix Engineers then send off the Stereo Masters to a Mastering Engineer. Engineers DO NOT give out raw files as a general rule unless they are specifically requested as they can take some time to prepare. Engineers also don’t allow bands/artists to be present while they are mixing. Mixing is the culmination of often years of experience and schooling and each Engineer has methods that are considered trade secrets. Asking to be present during a mix session is considered to be quite rude in the sound world. Mixing is part of our lively hood and as such we ask that you treat it with the respect that any other craft, trade or artistry would deserve. As with a Recording Engineer, before stereo files are sent off to be mastered the balance of the studio bill usually needs to be paid for in full.
            2. Mastering- After the final mixes are approved, the stereo files are sent off to a Mastering Engineer. A Mastering Engineer provides the final steps before the final product for a given project are considered fully completed. A Mix Engineer handles and mixes each song as it’s own small project; and a Mastering Engineer mixes and handles all of the songs collectively as a project making sure that each song plays at a consistent volume and applies all of the information such as song title, artist and album information. Theses are know in the industry as Red Book Standards. As before, all balances need to be paid in full before the final product will be released.
            3. Duplication/Replication- This is the final stage of the process. Once the finished master files are completed they are sent off to be released via CD, iTunes, Google Play, or any other of number of ways.

PREPARING YOUR SONGS FOR MIXING

If you are planning on sending out your songs to be professionally mixed there are some things that I’ve listed here that will help save you time and money.

1. 1. 1. 1. 1. Edit your tracks- Make sure to take the time to get rid of everything in your tracks that is unwanted. These can be things like breaths or small mouth noises in vocal tracks or parts of songs that contain open mics. Basically whatever you don’t want to come through the speakers, get rid of it.
            2. Apply fades to your edits- After taking the time to edit your tracks the next step is to apply fades. Whether they are 1 millisecond long or taper off over several seconds this is one of the most crucial steps in editing. Not applying fades to your edit points can create things like pops and clicks that are hard to pinpoint and correct later on, especially if you’ve consolidated your tracks.
            3. Print or consolidate your tracks- After all your tracks are edited the next step is to print or consolidate your tracks. To put it simply, this creates a complete track from the start of the song to the last waveform, allowing us to export a clip that will line up perfectly, where we want it when we import it into any other DAW. If there is a specific effect or way that you want your track to sound, I recommenced printing it to a new track as well. Here is an example or what that looks like.
               
               As you can see the second and third tracks I’ve taken and edited down until all that is left is the part that I want. The first and fourth tracks are the same tracks, but I’ve consolidated them to create a track that is a complete track from beginning to end, leaving no empty space. This insures that each track will line up properly when imported into any other DAW.
            4. Name and number your tracks- After you’ve consolidated your tracks, rename each of your tracks with a number (I suggest using all double digits starting with 01) and a name that is befitting the track. If your original track was simply named Timmy because that is the name of your bass player, rename the track something like 01 Bass or 01 Bass Timmy if you prefer to keep names intact. Make sure to keep like minded things (like drums) together and if you’re sending out an album keep the core tracks numbered and named the same; adding in the odd tracks at the end.
            5. Bounce or export your tracks- At this point the next step is to individually export your tracks. Theses need to be WAV files and unless they are something like synths or keyboard tracks that have a right and left channel, they should all be mono. You also need to talk to your engineer and decide on the technicalities like sample and bit rates before you export your tracks.
            6. Create a file structure- The next step in the process should be creating a file structure that suits your project. Be sure to include a text file for each song with any special instructions for things like delays, reverbs or special effects. It’s also useful to include basic song maps with things like song structures (in measures or minutes and seconds), tempos and beats per minute (BPMs). Here is sample of a good folder structure:
               
            7. Compress your file- If you are planning on sending your files to your engineer via the internet, I suggest compressing your files before your send them. This creates a single file that will take much less time to get to your Engineer.
            8. Create a backup- Once you’ve got everything ready to be sent off, create a backup of your files on some kind of storage device such as a CD, DVD or external drive. I only mention this here because I have seen files become corrupted or get wiped out before and its never a pleasant thing.
            9. Send your files off- The last step is to send your files off to your engineer.

-S. F. Shields

© 2017 Media Smoothie, L.L.C.

10 TIPS FOR SAVING MONEY IN THE STUDIO

Probably the biggest concern that people have before coming into the studio is the cost associated with recording. Here are some tips and practices to help you save money in the studio.

1. 1. 1. 1. 1. Make a plan and stick with it- Having a basic plan on how you want to proceed in the studio can save you a ton of time and money. Simple things like song orders and how exactly you are planning on tracking (i.e. all together or separately) can have a huge impact on the overall cost of your studio time.
            2. Create song maps- Song maps are really simple tools, but without them I’ve seen recording sessions go from being productive and rolling smoothly to immediately come to a standstill. Song maps should include a basic list of every voice/instrument of a song. This will help you to include everything that needs to be recorded.
            3. Practice with a click track or metronome- This is one of those things that is really simple but can make a huge difference in the studio. And because we record to click tracks it only makes sense to practice to one. Even as an accomplished musician I suggest people practice to one as it can take a few hours to get used to playing to one again.
            4. Consider Re-amping- If you are proficient in recording things in a home studio, re-amping is a great way to save money. Re-amping is where we take a dry recorded electric guitar or bass track and run them through an amp at a later time, allowing you to take as much time as you want to get your guitars perfect.
            5. Create a scratch track- If you are proficient enough to record some basic tracks to a click track at home, it can be useful to create a scratch track as a guide to use in the studio. You’ll want to write down the BPM of the song and have that readily available for the Engineer when you come into the studio.
            6. Practice, practice, practice- Being practiced is an important part of prepping before you come into the studio. You should be able to play the same song repeatedly and consistently each time. This will help cut down on takes in the studio. It also will help you prepare for the long hours that recording takes.
            7. Change your strings/heads a few days prior to recording- New strings and drum heads are usually fuller and much richer in tone but changing them at the studio can waste a ton of time and money. Changing them a few days before hand allows them to still be new but gives them just enough time to stretch and settle.
            8. Bring spares- If it can will go wrong in a studio, there’s a good chance it might. Strings, drum heads and sticks break. Picks warp, cables develop nasty hums and so on. Being prepared is one way to keep things rolling when things do go wrong. If you’ve got spares bring them with you. If you don’t have spares I suggest getting some.
            9. Plan a food budget- This is one of things that doesn’t really occur to a lot of people until its eleven P.M. after six hours of tracking. I suggest planning out meals in advance or even talking to your studio about having something catered while you’re recording. Depending on how many people are present, it may be a much cheaper option with much less of a hassle to have food catered than trying to feed 8-10 starving people at one in the morning.
            10. Have your gear set up or checked out by a professional- Before heading into the studio its a good idea to take your instrument in and have it checked out to make sure that it is is in tip top shape before recording. This is especially true for any stringed instrument as things like seasonal changes in the weather can have a huge effect on things like intonation.

S. F. Shields

© 2017 Media Smoothie, L.L.C.