This blog examines time management in the recording studio from the perspective of the music producer. The blog is presented in the form of a guide that will provide a common language to music clientele and technical personnel to help achieve the best possible creative outcome. The research for the guide combined the author's experience, literary evidence and external assessment to work towards establishing a practical industry resource. The result of the study explored how the success of any recording project can be forecast before valuable resources are committed. The feedback from the survey group was positive and some professionals recognised an immediate application for the procedural guide, which exceeded the author's expectations.
Introduction
Recording sessions can take a variety of
forms depending on the artiste and budget and with this diversity there is an
underlying organisation that is important to accomplish a successful project.
Time is money when hiring expensive studios. Finding ways to maximise
productivity in the studio environment is important for producers, artistes,
record companies and engineers. This paper will concern itself with putting
into place procedures to ensure an effective recording outcome.
The application of procedures has always
been vital when dealing with a tight budget and time frames but larger budgets
need just as much attention. The production schedule, personnel and the
processes in recording all contribute to being able to get the job done to
everyone's satisfaction. This paper will examine at the various elements in the
recording process and make a step by step guide to ensure creative energies and
valuable time are not wasted in the process.
After many years working in the music
industry in Australia and internationally the author has realised that the use
of time management skills would have been invaluable to him personally in the
many areas of recording. This paper therefore will benefit future projects
especially in working with clients and personnel in the music industry.
Research Methodology
Other professionals in the recording
industry were emailed a summary of the paper in point form. Additional
information was collected via email and telephone to discuss the inclusion of
the content. The survey group included producers, engineers, professional
studio musicians, and musicians who use facilities to record their works. The
feedback acted as a validity check for the procedural guide and enriched the
study while ensuring any important aspects that were raised were included.
The data from the survey group was
incorporated in the paper where pertinent and cited. All participants have been
acknowledged for their contribution. The
context in which the material was used was substantiated with the contributor
before inclusion. Permission was obtained before any material was used in the
research.
The most important questions with regard to
the procedural guide are:
1) What time management techniques are used
in the recording session?
2) What pre-production is used before the
recording?
3) How do you ensure the recording project meets the expectations of
time, money and creative outcome?
Literature Review
Some of the literature on the subject of
time management in recording is found in Modern
Recording Techniques (Huber, D.M., Runstein, R.E., 1995), The recording studio handbook John
Woram (1981) and Handbook for sound
engineers, the new audio cyclopedia Davis, C., with Jacobson, L. (1991)
under the headings of pre-production and session procedure. The subject of time
management is not treated as a discipline. Not many guide books have been
written on time management in the recording studio and it is the aim of this
author, based on his experience in recording industry and research, to present
a procedural guide which will benefit all those involved with recording.
Production techniques greatly influence the recording process and will
dramatically influence the time spent in the studio. This is because the
ability to record effectively in itself is a time saving exercise. These recording
techniques and choices are individual to the recording team and are subjective
in nature so they will be excluded from this paper to make room for general
principles that can be applied by all.
Modern
Recording Techniques (Huber, D.M., Runstein, R.E.,
1995) covers most of the basic information. It advises that it is important to
get to know everyone involved in the recording at the outset and to discuss
expectations of the session. The organisation of track sheets, song positions
and other relevant information is necessary for the smooth running of what
takes place in the studio. The recording
studio handbook has valuable advice on slating. John Woram (1981) notes:
Takes are
numbered consecutively. Usually, each new song begins with "take 1."
However, it is often a good idea to continue the count for the duration of the
session. Thus, if one song ends after take 10, the next one will begin at take
11. This is a great help in recording unfamiliar music, or for tapes that will
be sent to other studios for additional recording or mixing. If there is only
one "take 17" on the entire collection of the master tapes, there can
be no question as to the identity of each take (p. 386).
This purpose can be served by the use of
the absolute time function on digital tape recorders but the concept of
individual identification of takes remains prudent. John Woram also suggests
having someone count the tempo in an isolation booth for sections where the
drums are not included. Where click tracks are not employed this would be
practical device. The use of a click track has been suggested as not only a
good production tool but as a time saver by giving you the ability to copy and
paste material to use in repeated sections of the song, (W. Mills, personal
communication, October 25, 2005).
The
literature cites engineers and producers to validate key concepts. For example,
George Martin states that he did not have to talk to his engineer, Geoff
Emerick because they had worked together for so long (Cunningham 1996, p. 125).
Tobler,
J., Grundy, S. (1982). The record producers a compilation from
the BBC radio 1 series and Cunningham, M. (1996) Good
vibrations: a history of record production have both been utilised for the purpose
of substantiating the content of the procedural guide.
Procedural guide for the recording studio
Clientele
The process of recording is complex because
of the personalities involved: the engineer focusing on the technical aspects
of the recording and the artiste on the performance. The ability of the producer
is to creatively draw the best from these individuals. To streamline the
creative process in the studio the technical side of the recording needs to
function automatically. The engineer should know how to do his job so well that
he can give his attention to the artistes and producer.
Before beginning a recording the musicians
need to be briefed to understand what is involved and the expectations of each
person in the project. As we spend time with the musicians we find out what
they like to listen to and this will be a valuable resource. Being familiar
with client tastes will also add to client comfort (B.Quinn, personal
communication, November 1, 2005). The client tastes will be used as a resource
to give common ground to discuss direction. "As a producer or engineer it
is highly important to establish rapport with each member of the band"
(B.Quinn, personal communication, November 1, 2005) and spending time at live
performances can be a good icebreaker.
In the process of recording we are engineering
people. What the client thinks is more important than your own perspective.
George Matin cites in Tobler,
J., Grundy, S (1982):
It's no good bullying people, because they dig their
heels in and do the opposite - you have to lead rather than drive, and in fact,
tact is one of the absolute requirements of a record producer. You've got to
make the guy think that he thought of whatever it was in the first place, and
you can't go around in a studio saying, "What a clever chap I am for
thinking of this", because that immediately destroys the ego of the person
with whom you're working. I still say that the artist is much more important
than the producer, and he's your spearhead, so you've got to build him up, and
thus, if you have a good idea, try to make him think of it, I'd rather do that
and get a really good record than to end up with a rotten record for which I
take the credit (p. 116).
Anticipating the client needs before they
are conscious of them is an important facet of the process in recording and we
can achieve this by working ahead and anticipating client needs. The excitement
of the project must be maintained throughout and the clientele must feel
involved all the way.
Production Schedule
The first step for a producer in accepting
a job of a recording is deciding if they are willing to do the work to make the
recording shine. Ian Taylor reminds us to make sure we pick the right personnel
for the job. Are they experienced with our style of music? (personal
communication, October 28, 2005). Before accepting the assignment the engineer
and producer need to satisfy that their requirements are being met regarding
the session. They will need to ask a lot of questions to ensure the clients are
aware of what is required for their standard of production. If the producer
decides to go ahead and produce the recording budget requirements will be
important. The budget will determine the production standard and the facilities
that will be used. It will also dictate the time available recording in the studio.
The producer and artist will need to discuss the amount of recording and how
fast the recording process will be and incorporate this in the production
schedule.
Choosing the appropriate facility to match
the client’s needs is a crucial. For example, if a loud drummer is to be
recorded the size of the drum room will contribute to the effect. The acoustics
of the rooms will need to be assessed and work previously recorded in the
studio will need to be listened to. The atmosphere and amenities of the
facility will be another factor. For example, have the musicians somewhere to
relax while the recording is in progress? Food is sometimes an afterthought in
the studio and to get the most out of the team food can be a vital factor for
success. It is in everyone's interest to discuss possible disruptive issues in
advance like intoxicants, if you cannot maintain a drug free environment they will
need to be used in moderation otherwise the project's budget could be wasted
(W.Miller, personal communication, October 19, 2005). Another disruption can
come from visitors and only those concerned with the creative process should be
admitted unless they understand the work situation and complement the creative
process (T.R.Max, personal communication, October 28, 2005).
A part of being prepared to do a production
is to check the recording equipment before the session. If using analogue gear
the tape machines will need to be lined up and the tape stock checked. The
amount of equipment will be assessed to ensure the studio satisfies the
criteria. The condition of the studio will determine how much testing you will
need.
The actual production schedule is not
difficult to compose. It will develop as the budget and the workload is agreed
upon; once the hourly rate of the facility is put into the equation the number
of hours recording can be predicted. This is done by taking into consideration
set-up time and the time of recording needed for each song. The engineer will
know his work pace better than anyone else but allow time for any problems that
might arise. Large budgets with ample time available in the studio still
require time management to keep the session vibrant, as too much time in the
studio can be detrimental to the creative flow of the session.
Pre-Production
It is the responsibility of the producer to
make sure all the sound sources are worthy of recording before the day and
providing alternatives if any deficiencies are evident. Live equipment doesn't
necessarily equate with recording. Relying on studio equipment to rectify
problems is heading for trouble. Chips Davis, with Linda Jacobson (1991) cites,
"Equalisation in order to correct problems from microphone placement,
leakage, reflections and unfavourable acoustics severely limits the engineer's
creative boundaries" (p. 1141). Is the instrument of a sufficient standard
or condition? Obvious things can be done like changing strings and drum skins
but we need to ask these questions even when working with professional
musicians. Instruments can be hired to fill most situations at very reasonably
rates. If the sound of the instrument is excellent without looking for a sound
you have saved money.
Pre-production will always be at the top of
the list for time management. It will be beneficial to get a demonstration of
the songs to be recorded for organising the session. If you cannot get a
recording see the live shows for this purpose. It will identify if the
arrangements work or if any addition work needs to be done on the
instrumentation. This recording will help you visualise the end product and
indicate what is needed for pre-production. If overdubs are planned that are
not a part of the live performance they are sometimes an after-thought and
totally unrehearsed. Audition any additional instrumentation against the song
to see if it works before going into the studio.
Recording Personnel
The Producer
The producer's role is to keep an overall
creative perspective on the development as it unfolds. The ability to ensure
the production process will work in the studio is a discipline that is learnt
by experience. The additional ornamentation the producer brings to the project
could involve arrangements of other instruments, sound effects and a variety of
production techniques.
George Martin in Tobler,
J., Grundy, S. (1982) explained:
I think my producing career really started with those
comedy records, because I was getting very involved on the floor instead of
just being in the control room saying, "Yes, that's nice" or,
"You're singing a bit flat"'. It became a matter of going through
material and saying, "Let's not do this. If we put a bit of music behind
this, or have the sound of a band saw coming in from the left, it'll make it
much better". It was creating before we got into the studio at the stage,
and really that's what a producer is up to - he's sort of masterminding the
concept of what it's going to sound like before it actually happens (p. 108).
The producer will find the capacity to
increase efficiency in all stages of recording by using additional personnel.
Recording is not a one-man job. When talking about Bill Price, Chris Thomas in
Cunningham (1996) explained:
Bill was always great at helping me achieve ideas,
especially when I was stuck. It was in these situations where he was very
thorough and because I didn't have to think about those things, it left me the
space to get on with producing (p. 245).
Long hours coupled with continuous playback
can tax the person who has the job of sitting in close proximity to near field
monitors and when working long hours critical listening can become impossible.
Working in a team creates the possibility to break the workload giving the
audio engineer a rest. Even if the producer is not an engineer this can still
be achieved once the mixing console has been set up. In some instances the
producer can work more closely with the artiste in this situation.
Sound Engineer
The sound engineer needs to keep a smooth
flow during the recording session while in charge of the technical aspect of
the recording. This will involve adjusting microphone placement, headphone
mixes and creating a conducive atmosphere when a lot of activities are going on
at once. In this situation it is very important to be prepared before the
musicians arrive. This point is also stated in Levine, M (2005) by Ben Wisch:
Try to have everything set up
before the musicians get there. When you open that template up and put
everything into input and everything into record, you should be able to get a
signal from the bass-drum mic, the snare-drum mic, the room mic — all the way
around. And also make sure everybody's headphones are working. Inevitably,
things will happen anyway during the session, things can be up and down. But
the more preparation you do ahead of time, the easier it is. Especially when
you're producing and engineering yourself (para. 55).
Working as engineer/producer in the studio
environment can be fast work and if doing the job solo you will need to be
ready to move quickly, thinking ahead of everyone else in the studio. Knowing
the gear inside out is the only way to be up to speed. In getting to know the
gear Michael Cooper spends one or two days a months reading his owner's manuals
and states "If you want to be a speed demon in
the studio, you have to study, study, study. Be the perpetual student because
it will pay off in spades" Levine, M (2005).
Programmer
Programming is a very important production
tool and is usually done in Pre-Production creating a dramatic cost saving.
Project studios can deliver a professional sound where acoustics and space are
not a factor in the recording. One could argue that the biggest time management
device in the current environment is being able to record most of the project
at home before approaching the studio.
Studio Musicians
Hired studio musicians who are expert in
their field can greatly enhance a performance and reduce recording time by
improving musicianship and the sound of the recording. A widely used addition
to a composition is the keyboard, backing vocals and horn sections, strings,
percussion, choir and full orchestra. Jeremy O’Connor stated that it is
important to hire studio musicians when they are needed. In his case as a bass
player he is often hired with the drummer and is required to wait around while
the drums are set up. This is costly for the production and by the time he is
required to record he is drained from anything up to a three-hour wait.
(personal communication, October 27, 2005).
Drum Technician
A drum technician is cost effective in the
studio and worth the money for the result. Tuning acoustic drums is a science
in itself and should not be attempted by engineers and producers. When the
player is capable of this task the job becomes straightforward but this will
not always be the case. Huber & Runstein (1995) state the following:
The larger-than-life driving sound of the acoustic
rock drum kit that we've all become familiar with is the result of an expert
balance between playing techniques, proper tuning and mic placement. Should any
of these variables be lacking, the search for that perfect drum sound could
prove to be a long and hard one (p.135).
Second Engineer
A microphone technician or second engineer
can save time by working in the studio allowing the engineer and producer to
make decisions in the control room. This additional help will be a great
time-saver in setting up equipment and meeting the artiste's needs. This is
also great work experience for personnel wanting to get into the industry and
very cost effective. Make sure the assistant is fully trained and certified
(W.Miller, personal communication, October 19, 2005).
The Session
Before setting up decide on the electronic
routing of the session. Running microphone leads from the wall to the
microphone stand will save confusion. A mess of leads will gather at the wall
panel making it very difficult to trace any problems if done the other way
around.
Keep a track sheet for each song with song
locations, this point alone can save time and minimise disorganisation. Make
notes on everything (W. Mills, personal communication, October 25, 2005). If
analogue tape is used record a pulse at the beginning of the tape so that all
time locations will be accurate. P. White gives valuable advice when using a
number of tape machines:
When working with multiple modular digital mulitrack
machines (MDMs), the relatively slow lockup time of the machines can become
very frustrating when you move on to doing vocal overdubs and punch-ins. To
make things easier, do a rough mix of the tracks you've recorded so far onto a
spare track on the tape you're using to record the vocals. You can now switch
off the other MDMs and just use this 'slave reel' to get the vocals and any
other overdubbed parts just right. Once you've got the takes you need, mute or
record over the rough guide track, put the other tape machines back on line and
mix as usual (p. 16)
Communicate to the musicians before you
start recording to leave silence at the end of the song and to allow time for
the instruments to ring out. This will avoid confusion in assuming that the
musicians will know what to do instinctively. It is time-effective to record
the rhythm section together first with as much of the instrumentation as
possible to establish the 'feel' of the music (T.R.Max, personal communication,
October 28, 2005). It has also been suggested that the bass player be in the
room with the drummer or have visual contact to create a tighter rhythm section
(J.O’Connor, personal communication, October 27, 2005). If a good isolation
booth is available the main vocal can be recorded with the rhythm section and
in some cases a better performance be achieved.
Mixdown
Mixing down the music is a very important
area for time management as the right techniques can save time. The first step
in the mixdown process is to make sure the correct parts have been chosen and
material not wanted is removed. It is very important to have at least one
reference level and to make adjustments at a specific monitor level (I.Taylor,
personal communication, October 28, 2005). This is understood when we realise
that a decrease in volume decreases the bass creating an ever-changing
frequency balance. Thought should have been given during recording in regard to
the stereo image and components recorded in stereo where possible. Some
producers will duplicate parts up to five times to be spread around the stereo
field. These parts need to be recorded at the same time so the talent remembers
what they did (W. Mills, personal communication, October 25, 2005). The
individual equalisation should be done with all the tracks playing rather than
soloed. Woram (1981) "By the time of the mixdown session, it really makes
no difference what each isolated track sounds like" (p. 392). This concept
can be applied in recording to ensure that the new sound will fit the overall
picture we are creating.
Once the instrumentation has been added
music-to-voice level will be important. Make sure the vocal can be heard at the
start of each section so that the listener feels they can hear the words. Once
established, the listeners’ brain will be satisfied that the words can be heard
easily even if the vocal recedes into the music from there. The vocal level
should be listened to in a number of environments to make sure it is correct.
Small speakers are the best for balance as they represent the midrange frequencies
absent of bass and treble. This helps because it will sound good on very small
speakers and larger speakers as well. When we take this approach on the overall
mix it produces a very tight fitting midrange balance and this effect will make
the recording very strong on all systems. Different mixes can be created for
different parts of the song to optimise the balance and these added together to
form the whole. Mono-compatibility is also important for universal application
of the mix.
After long mixing sessions the ability to
differentiate becomes less and less. Breaks are very important and if possible
the set-up should be done on a separate day so the mix can be done with
judgement. It is also a good idea to do alternate mixes so if there are concerns
about the vocal level the final choice can be made at a later date. Ideally the
mixing console could be left set up for these decisions to be made.
Mastering
You need to ask yourself, ‘Does the
recording need mastering?’ (I.Taylor, personal communication, October 28,
2005). It is possible to get it right in the mix without mastering. This can be
the case with sequenced music where sounds are manufactured to work well. If
the project is mainly acoustic in content then it usually will benefit by the
mastering process. Mastering could be an extension of the recording process by
the production team. Having a different person to do the mastering gives you a
fresh ear on the material if you can trust them with your recording. Once the
order is established each track will be treated to complement the whole and the
overall equalisation will be adjusted to optimise its playback potential.
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