What really goes into a recording session?

[Quadman2]

Thanks JP with the studio jargon.

I did know that the drummer is supposed to be the "heart" of the group...but also have heard some players complain about them losing their focus during a tune.

Also have overheard groups complain a fair bit on some audiences being "dead in the water". I think even the different countries tend to react differently to talent. Overall, Canadians are that much more attentive, but I guess the type of concert/age groups will bring about different responses as well.

This whole process now seems so...how can I express it? Detached and cold? Robotic? Compared to the early stuff belted out, with maybe smoke in the air (not saying which kind ), and the group kinda feeding on each other. A nostalgic pipe dream on my part.(sigh)
My experience is woefully inadequate here, as I only have my nephew's practicing before they went to the studio to record. Never went with them which I would have liked to...but wasn't asked either, and my thinking I might be yet another person to bother them during the recording session.

By the same token, I can see that if some in a group are not getting along, or just have become tired of each other due to tours/practices and such...the separate playing and layering in different places might ease the tension of some.

So, a lot more clued because of the wealth of sharing to date, and I know there's still lots of dynamics that haven't surfaced yet...a lot more!

My thanks for the contributions on recording sessions.

Q

 

[valvenator]

My experience is woefully inadequate here, as I only have my nephew's practicing before they went to the studio to record. Never went with them which I would have liked to...but wasn't asked either, and my thinking I might be yet another person to bother them during the recording session.
Q

Don't take it personally, and you are correct.
I learned a long time ago: audiences do not belong at practice or recording sessions, for many good reasons.
The band might be OK with you at the mix down sessions but if you want to be invited again simply sit back and watch.
Asking too many questions or especially offering advice when not asked for won't go over too well.
Once the session is done and the band is kicking back is a good time to talk with the engineer.
Some are pretty proud of their studios and might even offer to show you around, if you get the friendly type.

 

[Quadman2]

Don't take it personally, and you are correct.
I learned a long time ago: audiences do not belong at practice or recording sessions, for many good reasons.
The band might be OK with you at the mix down sessions but if you want to be invited again simply sit back and watch.
Asking too many questions or especially offering advice when not asked for won't go over too well.
Once the session is done and the band is kicking back is a good time to talk with the engineer.
Some are pretty proud of their studios and might even offer to show you around, if you get the friendly type.

All points well taken...feel better bout the past ...now. Gotta see it from the players' POV.

It must be a tricky dicky assembly with some on edge due to some past screw ups or some other people being there with vested interest, wanting their input to be considered...either wanted or not.

Thanks V.

Q

 

[BushmasterM4]

I own a studio and there is really no set way bands record. It really depends on the bands budget. I have bands come in for a consultation and go over what expectations they have and then give them a dose of reality If they have X dollars then I tell them to make sure they have their songs down pat !! And what to expect for X dollars. If they have XXX dollars then we have studio time for experimentation. But I still tell them to get their songs down pat before coming in. That way we have more time for experimenting. As far as a click track, I am a firm believer in not using one. Songs should "breath" and not sound like a robot is drumming. But there are some bands that come in that their drummer cant keep a beat. Then a click track can help. But sometimes that really screws him up. But back to basics. I recommend getting a copy of Mixermans "The Dailey Adventures of Mixerman" very good reading and entertaining. Then move on to his other books.

 

[freQ(*)Oddio]

Each generation of recording, and procedures have changed, the people and simplicity and talent has also changed, what the equipment can do has changed. i have recorded people, and been recorded , through a few different generations and through the recording equipment evolution , people, discipline, egos, humble musicians, .not prepared musicians, click track drama.with the drummers, all.from the 1980s up to 2 years ago when I gladly stopped, i find it much better to answer a few questions at a time, then to ramble on about things some may find boring, confusing, or not understand.

 

[Quadman2]

From what I have gleaned from the latter posts, there is a fair degree of returning to the past in the way of recording.


It's nice to cut corners budget wise and become more efficient in the usage of time, but some where along the road of recording, for won't of a better term, the "spirit" of a song/melody can be lost in the technical application as some have alluded to. Am I wrong in this assumption?

I do appreciate the input of those (studio owners) who have/had to deal with the different individuals who are connected to this game of entertainment we call...music and the inherent probs found within.

And, Bush, I can relate that $$$ is the driving force that changes wants into needs.

Also, fQO, generations come and go and can appreciate this aspect of the recording process, but as on the onset as mentioned...maybe progress isn't what it's all about. Your "ramblings" provide insight to some who lack your background. Don't take this for granted, eh?

Thanks for the continued feedback (pun unintended) to all as we are all here to learn on AK. The only difference...the learning curve is a lot more steep for some, like me.

Q

 

[Northwinds]

Jon (Louisjames) might pop in, he is a recording engineer so he has a lot more knowledge then the average person. Back in the day, we used 2 Tascam 4 track records run off the 24 channel Peavey Mark IV board I bought after saving a Summer for and send the tapes to MCE in Schenectady to mix and make the tape master. They also pressed records and cassettes affordably for those that wanted to release music. Most folks I knew back (including myself) then could not afford real studio time. That was a rare luxury for bands that played at bars for $250 tops a night for the most part in the very late 70s through mid 80s. We had a leg up on other bands as we had our own PA system so we did not have to worry about equipment rental and we could charge other bands playing with us for use of the PA with our sound guy on the board

 

[fredgarvin]

I did one 45, one LP and a couple of radio jingles back before digital. I was a kid, but in demand as a local drummer. The 45 took about 4 or 5 takes. There were no click tracks then, at least not in our local studio. We recorded it live, with the drums in a booth and afterward the vocals were redone and a studio guy put steel guitar on one tune. With the 45 all I remember is it was distributed to the bars around Oregon where we mostly played. They put them in the jukebox. I doubt there was any money involved (at least I didn't see any) but it was good promo and people would know us when we showed up.

With the LP it was with a different band, we had a $3000 budget, this was all 8 track, I don't remember how many hours we got but the price included 1000 records. A weird thing we did was since we had no bass player we borrowed one on a couple tunes. Then after it was all more or less done, I had a friend come in and dub in bass on a couple tunes, and I dubbed in a 12 string on one. I actually heard it on the radio a couple of times. We would try to sell the records when we played local halls and rooms. But as the old story goes, my buddies wife ran off and he dropped out and that was it. A big pile of records sitting in boxes.

And yes, the monitors in the mix down were JBL 100L's. My opinion is they colored the sound with a rosy glow that didn't sound anything like the master.

 

[Quadman2]

Good shares, all. This is why I went to this forum to get the stuff first hand.

Really do like the hearing of the experiences of past recordings; the probs, the good times and some not so good.

Makes me wish that I had had the opportunity, or at least made the effort to get involved in this industry. Did a bit of local DJ stuff while in HS and was leaning that way. Plus, getting into a group and touring was a lot easier to do as well back then, but other interests got in the way.

Intriguing take on the money part of the whole session scene. Guess as time moved on, along with the complexity of the whole affair took place, the costs spiralled too. Then there was the advertising/promotion after the sessions...but that could be yet another thread.

Q

 

[Farmhand]

I once read a James Taylor interview where he said that almost all of his songs start with just him and his guitar, and that's the way he hears them- but in the studio, all this other stuff gets tacked on.
"Studio as Instrument" is a real thing!

 

[PureQuill]

Ok I am going to take a shot here and see if I can make this as clear as mud LOL
.The recording process no mater the medium digital or analog is a 3 step process. Tracking, Mixing and lastly Mastering

Generally the 3 steps are each done by different engineers who specialize in their part of the recording process.
Tracking engineers know the very best way to record each instrument. They know what is the best microphone to use, where to place it ,what preamp and EQ to match that microphone to get the very best recording for each and every track.
Mixing engineers know how to take all those perfectly recorded tracks and edit and mix them all together to get perfect blend of instruments vocals with just the right amounts of effects to make the song come to life.
Mastering engineers take all the mixed songs apply the final eq and adjust the dynamics into a cohesive album that sounds great on anything it is played on..


1st) Tracking this is the actual recording of the instruments and the vocals.
Tracking can be live where all players are present and playing together in the studio at the same time till they get it right!.
This is my personal preference.
If the band is well rehearsed ,the arraignment of the songs is tight and the band is on top of their game and the energy is good that IS the key to a great record.
It is all about the performance.
If the energy and performed is not there the recording is going to reflect just that.
A mediocre recording of great performance is infinitely better and more exciting to listen to than a perfect recording of a mediocre performance.
You can't fake the interaction between musicians and make a boring performance exciting. IMHO.

The other way songs are recorded is that they are "built" in the studio where the players each come and play their part separately.
This way of recording does have merit as anyone who listens to Steely Dan or Pink Floyd can attest but for it to be successful you need top notch talent on both sides of the glass.
The risk is no matter how perfect every note is and how perfectly in time and on the beat is, it often sounds sterile. Because humans are not perfect and it is often the imperfections that make it sound human.

Here is the process of the last song that I recorded that was" built in the recording process " WARNING IT IS LONG AND TEDIOUS!

1st I cut the "guide tracks"
I recorded 1 scratch vocal track ( meaning it is going to be discarded and I will l redo the vocals later)
And I recorded 4 tracks of the acoustic guitar. Stereo microphones left, right about 1 foot away from the guitar and a 3rd room mic about 4 feet back and the last 4th track the guitars on board pickup was sent directly into the recording console or computer interface. ( The reason for multi tracking the guitar was the acoustic tracks may or may not be part of the final mix)
I personally don't like "Click" tracks so I sing & play accustic guitar to a simple drum loop in my headphones.
I will record as many takes as I fell necessary until I am happy. So to be clear a "take" is an attempt to record the "track" correctly .
Some times I can nail a track on the very 1st take some times it takes 20... Usually I will do 3 takes on each track and 80% of the time I end up using the 1st take.

Next the bass player came in and recored his part listening to the drum loop and the acoustic guitar and vocals I recorded.
We split the signal directly coming from his bass into 2 signals and then record 3 bass tracks
1 Close mic on his Amp, 2 a room mic and the 3rd recording his bass signal straight from the guitar into the board for insurance and re-amping (More about that later)

Then the drummer came in and recored the drum tracks playing to a click set at the same tempo (BPM) the drum loop was and what the the bass player & I recorded.
We used 10 mics on his drums tracks...
2 overheads in stereo to pick up the cymbals, 2 on his snare drum 1 top and 1 bottom, 1 on his kick drum and 1 mic on each of his 2 upper toms and his ground tom and lastly 2 room mics in stereo about 8 feet back from his kit.

Now we have Bass, drums, acoustic rythum guitar and scratch vocals recored .
I now call these the "bed tracks" and the "overdubbing" begins!

So now I can come back in and over dub the electric rhythm guitar parts.
This was recorded again by splitting the signal directly from my guitar in to 2 .
Split guitar signal # one went to my amp that had 2 microphones Mic 1 one close to the speaker on the amp cabinet ,Mic 2 a room mic about 5 feet back the 3rd Mic on a different speaker cab fed by my amp in an isolation both.
I used my favorite amp a Fender Deluxe Reverb feeding a 4X12 Marshall cab in the iso both.

Split guitar signal #2 was sent directly from my guitar to the board to be recorded as "insurance"...
This signal can later be used to "re-amp" my guitar track by sending the recored guitar signal to what ever amp or digital amp model I choose If I find latter during mixing i don't like the amp sound I originally recorded or to layer the rhythm guitar .(Hence the term re-amping)
I also can send the recored direct guitar signal into what ever effects I want so my sonic choices are limitless!

Next the lead guitar player comes in and adds his fills and solos basically using the same microphone set up that I used on rhythm guitar...Almost done!

Last I ditch the scratch vocals and redo the final vocal tracks and add background vocals if desired.
I personally like to do the final lead vocals last because by the time all of the other players have added their parts the song. It has grown from a solo acoustic song and morphed in to a full on electric rock and roll song and I will most likely change the way I sing it entirely.
WhoooHoo We are done with part 1 Tracking!

Part 2 mixing
Mixing is where the all of the recorded takes of each track are made into the song you recognize. This is when the 12 guitar tracks 3 bass tracks 10 drum tracks & 4 vocal tracks (And Often More) are all mixed down together to the final mix as 2 tracks stereo left and right.
This is when the editing is done and choosing between takes or comping different parts of different takes together.( fixing screw ups or removing the elements that are not needed)
As each track is edited it is also EQ'ed. paned and placed into the stereo field. There are many things that can be done to the tracks such as adding compression /limiting,,adding effects like reverb, delay, chorus and adjusting the volume level of each track and players part.

Usually during mixing is when it may be decided that we need to add keys , strings, heavy metal banjo or maybe more cow bell or a kazoo would be cool and then over dub them into the mix LOL!
When the editing and mixing is done all of those tracks are now mixed down to the final 2 and the song now is what we had envisioned or hopefully even better!

It sadly often is also when great recordings end up being ruined by being overproduced , falling prey to players egos or bands feeling pressured to follow the current musical trends of the day. Such as extremely booming bass, exaggerated auto tuned vocals, or the overall all mix having all of the dynamics compressed out of the recordings to "compete" in current the volume wars..But hopefully not!
Part 2 the mixing is done and It is now off to be mastered!

Part 3 Mastering
Mastering is the final step the recording process. Mastering Engineers have the very best equipment and ears in the business. They take the final mix and optimizes the recording so it sounds good on all playback media.
It also is when the final order of songs is selected and makes sure that all the songs sound like they belong together and volume and tone is consistent from one song to the next.

I guess the best analogy of the process I can make is recording an album is a bit like making a very fancy wedding cake...
The tracking engineer gets all of the very best ingredients together to bake the perfect cake for the baker.
The mixing engineer like a baker takes all those ingredients and chooses just the right amount of each ingredient mixes them together and bakes to perfection.
The mastering Engineer takes that perfect cake and puts on the frosting and decorates it to perfection so that when it is finished it is so beautiful everyone agrees it is as close perfect as it can be.
Does that makes sense?

So there you have it!
As always this is just my experience...it is worth what you paid for it.
Cheers
PQ

PS..You didn't ask but after all of the recording process is done
there is still more work to be done.
There is artwork , graphics, duplication, packaging, and marketing to be done in era when 95% people don't buy music anymore God bless artist who just can't help but create!

 

[PureQuill]

OK, have a rudimentary take on the lead up to the actual recording session that ends up as music to be released. Often wondered as to the different roles and power the publisher and artists had in the beginning as from the sample(demo) right up to the serious money needed for recording/tours/advertising. At this point I can also see how starting out talent has little or no control if they want to be accepted into the major leagues. This is a point wherein legal advice is necessary for both sides of the agreement of future works. This must be a delicate balance for the artist to giving in to powers to be and how much they have in the whole affair.

N
Thanks for the ray of light placed on sessions, TID.

Q


Well now days the the 360 deal is the norm in the business the label puts the money up but the artist has to pay it back and then some. It is pretty much a deal with the devil.
Basically, the 360 is an exclusive recording contract between a record company and an artist in which, in addition to monies from sales of the artist’s recorded music, the label shares in other income streams such as touring and live performance, merchandise, endorsements, appearances in movies and TV, and if the artist also writes songs, publishing.
In fact, most 360 deals have catch-all phases giving the label a financial interest in everything else that the artist does in the entertainment business.


https://www.thebalance.com/how-360-deals-in-the-music-industry-work-2460343

 

[Quadman2]

Thanks loads PQ for taking the time/effort to describe in detail some of the aspects that had been lightly covered up to this point.


Whew! Had to read your whole report several times, which I might add was well thought out and organized, making it easier for the newbie to appreciate the amount of labour/time that has to go into the way recording is done today compared to "Sun" reproduction days, wherein most if not all recording were spur of the moment, impromptu times of inspiration.

After all who have contributed to this thread on "session", I can come closer to what goes into the end result that we, Joe Public, enjoy in digital or analogue formats. Plus, some of the human aspects of interrelationships/dynamics that underlie the whole music process.

Personally, my take on the whole process was much more simplistic before the start of this thread.

Sad also to find out how talent can be curtailed with that "360' financial plan wherein struggling performers often end up on the wrong side of the money stick.

Again, kudos to all who have helped myself and others who have dropped in, have a lot more enlightened take on the recording side the music world.


Q

 

[BushmasterM4]

Well the whole "Sun Studio" way of recording still happens (to some degree). I have bands come in on a limited budget and they are recorded in a "live" environment. They all set up and are recorded like they are doing a live gig.

 

[marqueemoon]

Well the whole "Sun Studio" way of recording still happens (to some degree). I have bands come in on a limited budget and they are recorded in a "live" environment. They all set up and are recorded like they are doing a live gig.

This is an underappreciated approach these days. It definitely doesn't work for all styles of music, but it can be really right sometimes.

 

[Quadman2]

Based on the last two posts, I'm glad that the orig "musical wheel" of this process that is called the LIVE recording session still takes place. Maybe the goal of perfection with the many tweaks along the way takes away from the way the human ear is meant to take the sound in. As some have shared, it lacks that certain spontaneity/dynamic effect that is found in a live performance.

Q

 

[mfrench]

Hi, I'm Mike. I push record, a lot, in live music concerts.
My exposure to studios and near field environments is limited. My world is diffuse field, whole room natural ambience, finding that place, and minimalism. When I encounter studio guys, we often look at each other strangely, as our worlds are so different; we play with the same toys, but, use them differently.
I like to record with omnidirectional mics, and, sub-cardioids as my choice for directional mics (omni-like response, but with more high-frequency directionality; and fatter bass response without the need for rolling through the proximity effect range).

 

[Hajidub]

Short answer:
It depends.

Singing, playing instrument(s), and cocaine; it's that simple!