So, you’ve written a master piece, found a studio, booked a date and now you’re wondering how to prepare.
Believe it or not plenty of people turn up ruefully underprepared for recording sessions and don’t get the most out of their time or money.
I’m going to cover the main things that you should think about well in advance of your recording session. In my experience nearly everyone misses out one or more of these things to the detriment of the final result. Needless to say, the better you prepare the better your record is going to sound.
That said, the one thing you should never do is stress yourself out about it to the point of worry or anxiety as that will undoubtedly impact your recording session, overall experience and results in a negative way.
As always with this kind of advice, not every point will apply to every project or every workflow, so take what you can use and leave the rest!
1. The Music
1.1 Rehearse, Rehearse and then Rehearse Some More
Really this should go without saying. There is no such thing as too much practice. You should know your material inside and out.
I don’t necessarily mean that you have to have every single note laid out – for some styles that’s appropriate, for other’s it’s not – but even if you’re improvising or experimenting you should have a good idea of what that’s going to involve, how you’re going to approach it and what it is exactly that you’re performing.
The one thing you should never ever be doing is trying to practice pre-written parts in the studio while everyone waits for you to get it right.
Make sure you can nail your parts before your recording session, otherwise you can easily throw a lot of money down the drain and waste the time of everyone involved.
Not being able to perform your parts properly also drains all the energy and motivation out of you and everyone else very quickly – you as the performer get more and more frustrated, band mates get board and managers get annoyed. Before you know it, everyone is having a bad time and is loosing motivation. This is without doubt the easiest way to turn a great song into a complete nightmare of a recording, both in terms of enjoyment and results.
So make sure you get that practice in, and be realistic with yourself about how much you need.
1.2 Do a Home Demo
These days everyone at least has a phone, if not access to a laptop and some basic equipment that can capture audio.
One of the best things you can do is record yourself playing whatever it is that you’re going into the studio to do. It is far easier to spot mistakes or weak-points in what you’re doing when you’re able to step back from it a listen without having to do it. This is also how people are ultimately going to perceive your music and you’ll be able to judge it as a listener rather than a performer.
This prepares you psychologically for the recording experience in a small way but more importantly, it gives you the chance to listen back to your performance and spot any areas that might need improvement. The last thing you want is to perform your piece at the studio, only to realise you really should have been practicing it.
Analysing the demo recordings you make in terms of performance and composition is key here. The idea is not to think about the sonic quality of the recordings but to be critical of the performance and song in general.
Record. Analyse. Improve.
Then repeat the process until you feel confident you can meet your own expectations for the performance.
1.3. To Click or Not to Click
This tip applies mostly to musicians playing an instrument, especially drummers or solo singer-songwriter acoustic performances.
You should decide if you’re going to use a metronome in the studio or not before you arrive. This doesn’t mean you can’t try the alternative in the studio if one approach isn’t working for you, but it can save some time and frustration if you’ve already attempted it in advance.
If you don’t have a metronome, you can easily get a free metronome app for your phone or load up any DAW you might have on your computer to see how it feels to play along to a metronome.
You can combine this with a rough recording and ask yourself if playing to metronome actually improves the music. How does it feel? Maybe you prefer the song a steady tempo but you need some practice?
1.4 Song Arrangement
This should (hopefully) be an obvious one. Make sure you know how the song/tune goes! Again, this can mean different things depending on what it is that you’re recording, but even the most improvised pieces have a structure to them and this needs to be committed to memory before the session.
You should know where all the verses and choruses are and how long they are, or where the solo is in the song and how long it lasts. How does the song end? Are there any parts you know you want to experiment with?
This does not mean the song arrangement is set in stone and cannot be changed during the recording or even post-production process. However, it means that you have a solid foundation on which to build rather than going in blind.
1.5 Song Tempo
If you’re going to record to a metronome you should experiment with one before the session and at least have an approximate idea of which BPM you want to record the piece to.
Even if you’re not recording to a metronome, you should have a good idea of the speed you want the piece to be.
Knowing the approximate speed first prevents too much messing around on the day and also allows you to make sure that you can play the piece up to speed.
Generally, it’s a good idea to be able to play it a little bit faster than you intend to perform it, just in case you decide to speed it up, especially if the piece involves any intricate or difficult techniques.
1.6 Prepare your Gear
Another hopefully obvious one is to ensure that your instruments or equipment are in good working order, are tuned and sounding their best.
Of course this will be different for every instrument or setup. Often instruments need to be checked well in advance to make sure that there is sufficient time to fix any issues before the session.
For vocals this sometimes means having the right things to eat and drink the day before. Perhaps cutting down on those cigarettes or doing some breathing exercises is what you need. Being in the right mental space is also vital – get a good nights sleep, have a pint of beer or whatever it is you need to do to mentally prepare yourself to be on top form.
For guitars and basses this obviously means new strings (especially for basses believe it or not). But it also means checking your intonation and electronics, having the right plectrums if you’re using them and making sure your frets aren’t buzzing anywhere.
Does that beat-up old guitar you were planing on experimenting with actually work?
For drums, new skins often improve the sound. You’ll need to make sure they’re tuned and you don’t have any annoyingly loose bits of hardware. Spare sets of the correct sticks is always a good idea too.
If you’re playing piano have you checked that the studio will have a suitable and well tuned piano for your performance? Do you have resin for your bowed instruments or valve oil for your trumpet? The list is probably endless but it is well worth paying close attention to the fine-tuning and preparation of your instrument whatever that may entail.
2. The Artist (that’s you)
2.1 Know What You Want To Achieve
You should have a clear idea about what it is you’re trying to accomplish in any given recording session.
For example, the goal may be to lay down drums and bass for 4 songs. Or it may be to get all the guitar overdubs done. You might just be okay with some demo-quality results, or on the other hand you might prioritise one high-quality recording over several rough ones.
Knowing what you’re willing to accept as a bare minimum in terms of results and quality and also what you’re striving for, will help you navigate the session as time goes on. It’s perfectly possible to spend all day trying to get a perfect chorus vocal, but if you’ve got a ton of other parts to record and/or a limited budget that may not be a sensible use of the studio time.
Having goals and realistic expectations is the key to consistently productive and enjoyable recording sessions. It allows you to stay focused and achieve things even in the face of adversity.
2.2 Have An Open Mind
Obviously, you still need to remain flexible. You’re making art after all! However, having an open mind is usually about experimenting or trying things that are new or different to what you had planned. That distortion pedal you’re really attached to isn’t working? Don’t be afraid to drop it or try one of the studios old pedals. You want to try cutting that double chorus down to one? Try it see how it sounds. Perhaps the track you’re cutting just isn’t the one you really want to do – great don’t be afraid to try a different song!
In general, the better prepared you are with regards to the music (see part 1), then the more time you’re likely to have to experiment and try out different things. This is often the way of things, as you’re not sure if something will work or not until you get stuck in to the recording process.
2.3 Make it about you.
A lot of artists that come to me for the first time are a bit nervous. It’s a new environment, and they’re being asked to perform their very best in front of a person or people they may never have met before.
That can put a lot of pressure on the artist. Especially with a load of equipment, a quiet space and the knowledge that what you’re about to do will be analysed and judged. You’re stepping up to the mic and feel like you’re on display for everyone – and that’s not easy.
When you go into the studio to record, especially when you’re a vocalist and in the main focus, my main advice is to remind yourself that everyone is here to help you and to help to get the best performance out of you. Don’t forget that!
The engineers and the assistants are here to put you in the best possible position to succeed!
In terms of making yourself comfortable, if you feel like you’re on display go and turn stuff around you so that you’re not facing everyone. Make it about you – if you want the lights down a bit or if your headphone mix isn’t quite right don’t be afraid to ask for stuff to make sure that you’re feeling as comfortable as possible and have the best chance to get the best performance and delivering the best takes.
2.4 Be Organised.
Often overlooked, being organised is tied into all of the points I’ve made so far.
Plan sensibly, be on time. Keep to your promises and communicate effectively. Know what you’re doing and well. Remember all your parts, equipment and notes.
Poor organisation can be the downfall of a smooth recording session. If you’re lucky you’ll have a manager keeping on top of things for you, but even if you do, you can make everyone happier and keep things running well by staying organised.
3. The Studio
3.1 Have a Chat with Your Producer or Engineer
Communication. You can’t expect the other people working the equipment to get that sound you’ve been imagining if you don’t communicate what it is to them.
Musical genres are vast and varied. Never assume that the engineer or producer is going to know exactly what you want. There are an infinite number of vocals sounds, guitar tones and ways to record a drum kit. Only by communicating what you want can you begin to et closer to that ideal sound with the help of any of the experts, equipment and space you’ve hired to help.
Getting to know each other a little is also a good way to make sure you get the best results. Take the time to explain your reasons for making the music. Your inspirations, ideas and personality are all things that make you the artist you are. A good engineer, and especially a producer, will know this and will want to know what makes you tick to make sure your vision is realised.
3.2 Have Reference Tracks
I know that your music is the first of its kind and cannot be compared to any other past recording, but it’s incredibly important that you think about the sound you want to achieve.
List 5 songs that you think sound amazing, take note of a few parts that stand out about them (great drum sound, vocal texture/performance, bass tone, etc.) and let the studio know about that ahead of time. If you absolutely love something the producer has worked on before, let them know because I’m pretty sure they’ll know how they got that sound.
When a band or artist lets me know what songs they like, it doesn’t mean I’m going to replicate that sound exactly, but it will let me know the style of recording they like. Are they aiming for a punchy, aggressive style recording? Or will it be something smooth and mellow? Knowing this will help the process run more efficiently.
This communication will help you get the recording you really want.
3.3 Production vs Engineering?
I’ve been referring to your recording engineer as your producer the whole time because that’s generally the role I play during recording sessions, but there’s a big difference between a recording engineer and a producer.
Technically speaking a producer doesn’t actually use any recording gear and just sits on the sofa making decisions but that’s an uncommon role nowadays. A producer normally performs their role in addition to the recording engineer’s role.
Here’s a brief definition of each role to help you understand the main differences:
Recording Engineer: Takes care of all the technical aspects of the recording process, such as setting up mics, amps, etc. as well as recording, editing, and organising project files.
Producer: Takes charge of creative decisions as well as time management and ensuring creative vision for the project is met.
Most studio engineers will do the recording engineer’s job and some part of the producer’s job, but how much of the producer’s role they take on can vary. I’ve worked at studios where the engineer will just do what you say with no guidance, but I’ve also worked with studios where the engineer will make the majority of the creative decisions and completely dictate how the project runs.
Some of you might just want someone to set up mics and hit the record button, while others will want someone to help them every step of the way, including creative decisions and song development.
I personally love putting on my producer hat and becoming an unofficial member of the band during a recording session. I find the unified vision creates incredible results but that’s not what every artist wants, so always keep this in mind.
4. This Will Take Much Longer Than You Think!
Unfortunately this is the reality of any recording session. There are so many variables when recording that are difficult to quantify. You’re constantly having to make decisions along the way that will involve sacrifice to meet your deadline or will add time to the project in order to complete.
Sometimes this is because it takes longer than expected to nail a particular part. Other times it’s because a new creative idea came into light during the session and you absolutely needed to add it to the recording.
When my band was recording in 2012 we added a 10 second guitar riff that took 3 hours to properly lay down. It was an idea that didn’t exist before we were in the studio so it wasn’t practised but the part was also quite difficult to get exactly the way it needed to be. We got there in the end but it took about 2 and a half hours longer than we had hoped.
The studio is such a creative space that new ideas will constantly come to you whether you want them to or not. It’s one of my favourite things about the process but it’s incredibly annoying when it comes to meeting deadlines.
Everything from music genre, your recording experience, selecting tones/instrumentation, your energy levels and performance on the day will affect the time it takes you to record. Add into the equation that every recording engineer will work at different speeds.
Discuss an estimated time frame with your producer but always bear in mind that things will ALWAYS take longer than planned so you will usually have to make some compromises to keep within time or spend more time on your project.
If you have any thoughts, comments or tips of your own don’t hesitate to get in touch. Learning is made better together. Thanks for reading.