Let’s play Madlibs…

The clock is ALWAYS ticking even when you’re __________________-ing.

Go ahead and fill in the blank for the statement. Even when you’re:

    • recording
    • overdubbing
    • listening back
    • talking to your girlfriend
    • going to the bathroom
    • telling tour stories
    • drinking beer
    • eating pizza

Get the idea? It’s always ticking. I am selling you time in my studio. What you do with that time is up to you. I get paid either way. It may bug the heck out of me, but I get paid either way.

Seems like common sense, but if you or your band members don’t have some of that then here are some simple guidelines:

    • Let the engineer do their job
      • Ask about their life story after the session
      • set up your stuff when they are NOT setting up their stuff
      • don’t offer technical suggestions unless asked for
    • Studios are for BANDS ~ Concerts are for FANS
      • leave your friends and family at home
      • don’t tell our fans where you’re recording
    • Party later
      • leave the intoxicants for another time
      • be awake and focused

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What is the difference between a commercial studio and a home project studio?

Good question! Because of the ubiquitous nature of personal computing, the availability of home recording software makes having a studio at home affordable and quite do-able! Therefore EVERYONE has a studio. And everyone owns word processing software. That does not make them an author!

This is the way I see the difference. If you built your studio for yourself to record your own projects with only a passing interest in recording other musicians, then you have a home project studio. If, on the other hand,  you wan to go into the business of recording musicians, voice-overs, film and TV spots, sound design and all other audio applications, then you have a commercial studio. The difference is in the concept and not necessarily in the physical location or the size of the space.

My studio, Blue Cave Studios, is a home project studio that leans more towards the commercial. I have a day job and I do not support myself with my studio income. I built the studio for myself, but I do enjoy helping others get their projects done. I dabble in voice-overs and have composed music and sound design for theatrical productions. I just do it on my own schedule.

Why use a HPS? and How to exploit the advantages of both large and small studios.

If you have diligently mapped out your recording process, you will see that you do not need to be in a big commercial studio in order to record everything. When a large studio could run you $100 plus per hour a HPS will go for $25-50 an hour.

    • record big things at the expensive studio:
      • drums, string sections, grand piano, chorus
    • record small easy things at a HPS
      • vocals
      • hand percussion
      • quickie guitar solos
      • background vocals

Check out the studio BEFORE you record there.

An obvious statement that should go in every section of this eBook. But even if you’re going to just do a few overdubs, check out the room and the engineer. See what mics and preamps they have and whether they can handle the bit rate you want to record at. Is the room quite enough?

How do I find a good HPS?

Well you can always call me – www.BlueCaveStudios.com

But if you are no where near Sandy Hook, CT, then I suggest you use these two websites:


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What do I need in order to record at home?

Most people don’t want to build a studio in their house,but if you are recording a lot it may behoove you to invest in some simple gear. I could write a whole eBook on each of these points, so I’m just going to generalize. Here’s the basic set-up:

    • PC/Mac
    • Analog to Digital (A/D) converter
    • recording software
      • Garage Band
      • Reason Record
      • Pro Tools LE
    • a decent microphone and preamp (call a sales rep or visit a local music store)

If you record often you will save money and the gear will pay for itself.

OK, I have the gear. What now?

I would suggest that you do some basic reading on how to record vocals. Build a simple vocal booth or use your clothes closet. Practice until you get the sound you want.

  • Advantages
    • do as many takes as you want
    • sing when your voice feels good
    • no pressure from behind the control room glass
    • off the studio clock $$$
  • Disadvantages
    • no immediate feedback ~ you’re all alone
    • better mics and preamps at the studio
    • someone else is running the board and you can concentrate on just singing

DIY always saves money out of the gate, but if you are having to do the vocals over because of a gear issue or your producer doesn’t like what you’re doing by yourself, then in the long run you don’t save. This is a personal and professional decision.

 


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What the heck is MIDI?

MIDI is an acronym for Musical Instrument Digital Interface and it has been the language that controls digital instruments and how they connect to your PC since the early 1980’s. In fact MIDI has been the one constant in the ever changing landscape of digital music and has hardly changed since 1983. When ever a keyboard is attached to a PC, MIDI is involved.

MIDI is NOT audio. It is a digital language that is written as you perform that interprets your performance and then plays it back with any type of sampled sound.

How does MIDI help me save money?

If you have an Apple computer purchased within the past 5-6 years, you have something called Garage Band installed on it. With Garage Band you can create MIDI tracks. These are tracks of information (not actual audio) that can be sent to a studio to be added to your song session. So instead of sitting in the studio laying down these types of simple tracks while the clock ticks, you can do it in the comfort of your own home. Where the clock ain’t ticking!

Here’s what you could possibly add at home to save studio time and money:

    • hand percussion sounds
    • simple keyboard parts
    • synth pads
    • odd or sampled sounds
    • bring in specific loops you have discovered

Sounds great! What do I have to do?

Have your engineer give you a reference mix of your song that you can sync to. Import it into Garage Band or something similar. Create the MIDI tracks and start adding your sounds. When you’re done, export the entire MIDI track so that it matches the length of the audio track the engineer gave you (this way it’ll sync up) and bring it to the studio on a small drive or CD.

What other software can I use for this?

There is a ton of software that does exactly what I just described, but if you don’t want to spend a lot of money and get into learning something you really don’t want to have to learn, then Garage Band is the best and it comes FREE on every Apple computer. Here are a few other names though:

    • Garage band
    • Reason
    • Ableton Live
    • Cakewalk
    • FL Studio
    • Digital Performer
    • Cubase
    • Acid

To find out more about these specific applications, I recommend Googling the names and doing your own research. It’s the BEST way to learn.

Here’s a review site if you’re lazy: http://midi-software-review.toptenreviews.com/


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What does a “Producer” actually do?

I have a good friend who once said to me during a session: “This band doesn’t need a producer, they need to rehearse!” I knew what he meant right away. The band in question just needed to learn how to play their songs effectively. They didn’t need to hire someone to tell them that.

So why have a producer? If you are an artist that needs a different perspective or that needs to be pushed in order to achieve a better result, then hire a producer. A producer is a person that has a vision for you and will wok with you to achieve that vision. If they win, you win. They are in your corner. A well connected producer can open doors and get people in to help you and hear you. They may have connections with studio owners and get discounts for bringing in business. A producer will cost you money, but it may be money well spent if you really find one that sees your music the way you see it.

  • What does an engineer actually do?

An engineer is the guy that presses the buttons, flips the faders, sets up microphones, sets levels and basically knows how the studio works. He is usually the guy seated at the right hand of the producer following his directions.

  • Find a person who can act as both producer and engineer.

The type of person who would be both would probably be a small project studio owner. This is the guy that has built the studio for themselves, know their gear and have produced CDs for themselves.

If you decide to go this route, do the following:

  • Interview the P/E to determine if they really know what they are doing
  • Ask for recordings they have produced
  • Ask for artist references
  • Visit their studio

 


Would you like a copy of all 9 strategies? Get my eBook entitled “9 Simple Strategies For Saving The Indie-Musician Money in the Recording Studio”

All you have to do is click on this link and send me an email requesting your copy! You will also be added to the BCS mailing list.

Send Request Now!


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Are studio prices “set in stone”? Don’t be afraid to ask for what you want.

Studios are like any business, They want to provide a service at a reasonable cost and make a profit so they can stay in business. Keeping this in mind when you meet with the studio manager or owner it would not hurt to ask if there are some ways to bring the costs down. If the studio is booked until next year the likely answer will be no. But, if the studio is having trouble booking time, then they might be willing to negotiate. Whatever the case, don’t press for a yes and begin on a bad foot. Just move on or move out.

  • Ask for discount “bulk hours”.
    This is the COSTCO approach to recording: buying in bulk! If you know you’re going to use 10 or more hours, ask for a 15% discount if you pay up front.
  • Ask for a Time of Day Discount.
    Studios want their space to be used. If it is sitting there unused and quiet then no money is being made. Ask the studio manage if there is a time of day when the studio is dead and can you come in at that time for a discount? I’ve recorded with bands at 3 AM in large studios because the studio didn’t mind and they could get money for the space.
  • Negotiate a “Package Price” for the whole project.
    I recently read Daniel Lanois’ memoir (“Soul Mining: A Musical Life”) where he said that when he is asked to produce a new project he will quote the record company a set price for which he feels he can complete the project. He then calls the artist and they get to work. No one is looking at a clock, the record company isn’t worried about going over budget, Lanois and his crew can focus on making music.

I feel that this is the best way to work on a large, long-term project: set a fair price and then get to work. I’ve been in so many studio situations both as a performer and a producer where the artist wants to get one last take in, but the clock says time is up. It’s either stop or pay another $100 for the studio and the engineer. Agreeing on a price for the whole project works for everyone: Win-Win!

How do you go about agreeing on a set price?

  • First off, agree to the concept of a set price. Some studios won’t even entertain the idea of working with out a clock.
  • Second, sit down with your producer or your band mates or some one close to the project and figure out how long you think it will take you to record each song. Doing this exercise with a person who has had experience with the recording process is key. A person new to the process really has no idea how many time it might take to lay down the best guitar track. When you, as the performer, are confronted with playing under a microscope, every little mistake gets blown up 100X and you start to think – Hey I thought I could play this thing!

Once you’ve estimated how long each song might take to record find out what the studio’s hourly rate is for basic tracking. Then multiply that by how hours you estimate and divide by 15%. This should give you a starting “number” to put on the table when you start a negotiation. Again, it’s a number to start at. That’s what negotiation is: give and take.

Here’s the concept in a simple formula for you math-minded people:
[(est. rec. time per song X # of songs) X (studio rate)] X .15 = Fair Negotiating Price

  • Make a list of expectations and desired outcomes.

When entering into a contract with a studio, know what you want and what you want to get out of your time spent in that space. Make a list of needs and issues and make sure that the studio will meet them and whether they charge for some of your needs.

Whatever the case – It Never Hurts to Ask!


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Welcome to the beginning of a new series of blog posts aimed at the indie-musician who does not have a lot of studio experience. I’m going to write about my list of easy studio habits that will save you time, headache and money when you go to record. The ideas I will present are, for the most part, non-technical in nature and very easy to implement. When you are dealing with something that you are not familiar with – in this case the recording studio, engineers, producers and cold-heartless technology – it’s good to have someone give you a heads-up about what to expect and what to do or avoid.

So let’s dive in!

Be Prepared
6 strategies to help you save money and time in the studio

As the Boy Scouts say: Always Be Prepared. This can save lives when out in the wild, but when in the studio it can save time and aggravation. Time is money when the clock ticks and when musicians and engineers are sitting around waiting for you to make a decision or figure out a chord progression the money just flies out the door.

So what should you prep before you come into the studio? Here’s a few items:

  • know your song before you perform it in front of a studio microphone
  • practice with a click so you can perform with a click track
  • have the song arrangement worked out
  • have professional lead sheets prepared
  • have lyric sheets
  • know that something will go wrong

Let’s go over each of these points in a little more detail. Some of these strategies may even warrant their very own blog post, but for now I’ll just summarize.

Know your song before you perform it in front of a studio microphone.
Well duh… But you’d be surprised at how many performers go into the studio not really knowing if the song works. You really should workshop your song long before you go into the studio with your songwriter-circle or a coach. Be sure of the lyrics and the melody and be able to play it proficiently. Don’t practice in the the studio unless you own the studio!

Practice with a click so you can perform with a click track.
This is important if you are planning on doing overdubs or if you plan on building your song from different takes. In order for you to line everything up you need to have been playing to a consistent tempo. Playing to a click is not as easy as it might sound and if you’re playing with a band please make sure the drummer can play to a click.

Have the song arrangement worked out.
Have an arrangement mapped out ahead of time. You should talk this over with your band mates or your producer long before you step foot in the studio. It takes a lot of thought to do a good arrangement. If you don’t write notation, at least have a description of what you want the arrangement to be printed next to the lyrics, i.e. in verse 1 just acoustic guitar and bass; verse 2 add the drums, etc…

Have professional lead sheets prepared
If you are planning on having session musicians come in to play on your song then you will need to provide them with lead sheets. Lead sheets are pieces of music that have measure numbers and chord symbols over each measure so that the musicians can play along. At times, lead sheets may have melodic lines written out if the writer wants to have a very specific notation performed. The lead sheet also tells the performers the form of the song, i.e. verse, chorus, bridge. In the control room, a lead sheet can come in handy for the producer to mark takes, arrangement notes or other suggestions. If you can’t write your own lead sheets, you can usually ask one of the guys in the band to create them for a little extra cash.

Provide legible lyric sheets
Just like the lead sheet, a legible lyric sheet can help guide the band, the producer or the engineer through your song. It can be used as a guide to mark multiple takes and help the people in the booth to differentiate between verses and chorus and bridge. You should bring at least 10 copies to the studio.

Know that something will go wrong and be ready
Whatever can go wrong will go wrong. Things break, people get sick, drummers get lost, tracks get erased, drummers girlfriends leave them or worse show up and then all work comes to as screaming halt. This will happen, but if you’re prepared for it then the down time will not really be way down. Discuss in advance what the studio’s policy is when their equipment breaks down and make sure you go off the clock. Know what their backup policy for data is and how secure it is. Bring extra strings, drum sticks, harmonicas, etc. Plan on adding 20% more time to your schedule and 20% more money to your budget because just like home improvement, recording always takes longer than you think.

There are definitely more things that you can do to be prepared before you come into the studio and I will address a few more that are wider in scope in a later post. Let me know if there are more things that YOU could add to this list.


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