Twenty Home Recording Tips

Twenty Home Recording Tips From The Experts

Fifteen Production & Recording Tips

...THE EXPERTS

6. HARDWARE & SOFTWARE

DC: Get the best equipment and software you can afford. But, it doesn’t have to be top end right away. I used Acid-Pro on a PC that got me a deal for $30,000. Now I’ve got top of the line Pro-Tools.

DG: Invest in a good pre-amp. It will upgrade your recording substantially. Neeve and API are two of the best. Check out eBay for them.

DA: Check out a stereo compressor and noise gate too. And, be sure that you have enough cables (you can never have too many); and, an audio patch panel (a central point where all audio cables connect to your system) will save you a lot of time, because you won’t have to chase cables all over the studio.

7. GET DECENT MICROPHONES

DT: Face it – vocals are really important. You can get a decent vocal microphone for around $300 to $1000.

DA: Don’t skimp on microphones. Try out a few of them and see which one records your voice best. In the studio we might try two or three before we find the sound we want.

Note: The Rode NT1 and AKG C2000B go for around $300 each. If you can afford more than $300, ask a few pros for recommendations. If you are going to be recording high sound pressure levels (e.g., guitar amplifiers), then something like the Shure SM-57 dynamic microphone could do the trick.

DG: If you’re worried about room noise when you’re recording your vocals, it generally won’t play into the sound if you sing no further than 4 to 5 inches from the microphone. Get up close and use a spit guard. Practice your vocals and check to see if you’re breathing right. A lot of vocals are ruined by improper breathing techniques.

8. CHECK YOUR INSTRUMENTS

DG: It may sound fundamental, but double-check and make sure your instruments are in tune and sound good. If something doesn’t sound right it will affect your whole recording. If necessary, borrow or rent an instrument. You won’t regret it.

9. START WITH A GOOD DRUM SOUND

DT: It all starts with the drums. The better the drum sound – the better the recording.

DG: Unless you’re recording electronica, do not use programmed drums – they’ll sound cheesy. You should consider recording in a professional drum room where you’ll have 12 microphones recording the kit. It will make a BIG difference in your recording.

10. RECORD DIRECTLY

DG: If you don’t have really good microphones, you can record instruments directly by plugging them into the board. There are acoustical tradeoffs, but you might be able to deal with them in the mix.

DT: There is a difference between recording directly and recording with a microphone. It really depends on the sound you want. I find that recording directly produces a thinner sound, whereas recording with a microphone gives the sound more depth.

11. KNOW YOUR SPEAKERS

DG: Try to buy the best monitors you can. Otherwise you’re likely to be surprised when you bring your tracks in for mixing or mastering.

DC:  Don’t let your speakers trick you. Learn how they relate to the real world. Listen to your recordings on different players. Play your recording in your car, a boom box and a friend’s stereo system.

12. USE YOUR EARS NOT YOUR EYES

DA: Because of Pro-Tools and other digital programs, too many records are made with eyes rather than ears. Close your eyes and listen to what you have, instead of checking the computer screen.

13. DON’T OVER PROCESS EVERYTHING

DA: The more you process your recording, the less pure it will become. And, that can adversely affect mixing and mastering. Try to keep effects to a minimum when you’re tracking. You can always add them in the mix.

14. GETTING A LIVELY SOUND

DG: If you want a livelier sound when you record your instruments, try placing your amp and microphone on a piece of plywood. It will brighten up the sound.

15. THE BALANCING ACT

SM: Make sure that everything is balanced evenly and fits properly. Otherwise, it’s going to cause real problems when it comes to mastering.

16. KEEP IT LEVEL

SM: You have to be aware of all the levels throughout the recording. They must be consistent and properly set.  If they’re not, mastering will not fix it. In fact, it could make it worse.

17. WHEN TO HIRE A PRO

DG: If it’s a “serious” recording – one you’re going to market or give to industry – you should consult with a professional, especially at the mixing and mastering stages.

TF: It’s always a good idea to bring in somebody who can help you – especially, someone who’s better than you are at what you’re doing.

DG: It’s always a good idea to just totally be an artist. Besides, four ears are better than two; and, part of what makes music great is collaborating with other people.

SM: You should at least consider consulting with a professional engineer – maybe, on a song or two – when you’re ready to mix. Mixing is a crucial stage, because once that’s done, mastering is not going to fix mistakes.

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