| MORE DETAILS FOR MUSIC PRODUCTION |
Studio Features:
Control Room Features:
Located in a rustic antique home on a privately-owned farm ... the perfect pressure-free, creative environment for your next project.
Our services combine practical music and recording experience with formal training in media and studio production. The result is an unorthodox blend of artistic, technical, and professional perspective. At the same time, the perspective that ultimately matters to us is yours. We bring a variety of resources to each project in order to fully realize the client’s vision.
Keep in mind that every session and every client is different, and we approach each situation with an open mind.
| THE TRACKING ROOMS |
Performance Area (13' x 19')
Our main recording room provides an acoustically-treated open space for recording guitars, bass, and/or larger drum kits. When tracking more than one instrument at a time, we normally divide the open space using mobile acoustic panels to isolate each instrument. When we record drums in the main room, we isolate any guitar or bass amps being simultaneously tracked by moving them to other rooms or using additional isolation panels in the main room. This room is ideal for micing and/or direct-lining guitar and bass amps. We usually record at least two tracks per amp simultaneously - one by mic, and one by direct signal. This method gives us more options to get an optimal sound during mixing. The main room offers a direct view into the drum room / vocal booth, allowing natural interaction between the drummer and other musicians during live tracking. Like the drum room / vocal booth, our main recording room features headphone monitoring for each musician.
ISO Room (6' x 9')
This isolated room is suitable for tracking smaller drum kits, vocals, and/or amps. For larger drum kits, we typically track drums in the main recording room using acoustic isolation panels. The drum room is equipped with headphones for close monitoring. As with all of our rooms, the drum room / vocal booth features noise reduction treatment for sonic clarity.
The Control Room / Post-Production (9' x 13')
Our control room offers acoustic treatment for transparent monitoring during the mixing process. Our digital console allows fully automated 64 channel mixing, scenario recall, and detailed editing precision. Each track on our 24-track console contains 16 virtual tracks (a total of 384) for multiple takes and compiling portions of different takes. We have three effects buses equipped with 400 plug-ins each, allowing up to 64 million possible effects combinations. This includes hundreds of adjustable reverbs, delays, enhancers, de-essers, compressors, expanders, equalizers, pitch-shifters, choruses, etc. There is also tempo-mapping and a vocal channel strip. We also have hundreds of amp, pre-amp, mic, and speaker modeling options. These effects can be applied during tracking or during post-production. We offer Antares Auto-Tune to transparently correct pitch problems with vocals or instruments.
On the other hand, we are equally adept at recording in a simple, straightforward manner - suitable for traditional styles of music or to make a transparent document of a live performance. It is up to the client to choose how much studio technology is used on a project.
These are general methods that have worked for us in the past. We encourage clients to get fully involved in the post-production process. Each project and client are unique, and we try to have as many options available as necessary to allow flexibility and creativity. The potential is virtually limitless.
ISO Live Reverb Rooms (9' 3" x 19' and 8' 3 x 13' 5")
We have two untreated, live reverb rooms that offer various degrees of natural ambience. These may be suitable for certain vocal or instrument recording scenarios, although the natural reverb limits our ability to manipulate the sound in post-production. We recommend these rooms mainly for straightforward recording that would not rely on much post-production work.
PRE-PRODUCTION
Before going into a commercial or private studio, it's good to get some experience recording yourself. These self-recorded demos can be done even on the most basic home tape recorder. Regardless of quality, it allows you to hear your songs recorded and played back at a normal listening level (instead of the extreme volume of the practice room). It also allows you to learn from your mistakes and analyze why certain aspects of the recording don't sound right. This forces you to become familiar with some basic terms and ideas that will be helpful when you're in the studio. The better you are able to communicate your vision for the project, the easier it will be for the engineer to achieve that sound. Even so, when in doubt try to convey your ideas to the producer or engineer as plainly as possible. Trying to sound overly knowledgeable can be harmful if you're using the wrong terms.
Rehearsal and demo recordings can also help you tighten up song structures and arrangements. If you've done your homework in this regard, you won't have to spend studio time working on it. There have been many bands who have gone into the studio with a song they thought was ready to record, only to realize that the structure didn't work as well when recorded. Recording can often reveal weaknesses (and strengths) that may not be obvious during live performance. Pre-production is just as critical as every other step in the production process, and it's free!
| MONITORING & PLAYBACK |
Be prepared to monitor yourself through headphones while recording. Instruments and amplifiers will typically be isolated for individual tracking, so it won't be like band practice with everyone playing as loud as possible in the same room.
| TRACKING INSTRUMENTS |
Depending on the project and the client, we often record several instruments (drums, bass, guitar) live. After the band is satisfied with an overall take, we overdub to correct any minor mistakes. After this, we overdub additional guitars (such as lead parts or solos), additional percussion or other instruments, etc. For acoustic and electric instruments, we can record by mic, direct line, or various combinations of both.
Solo artists, or even some bands may need to record each instrument separately. For this scenario, we would record drums first (live or programmed), subsequently adding additional instruments and vocals. We can provide in-house session musicians, but you will need to discuss payment with them separately. We encourage solo artists to provide their own instrumentation or make arrangements with other musicians.
We generally use a combination of overhead stereo micing and close micing to capture the intricate dynamics of live drums. This method gives us maximum flexibility during mixing. Each mic is routed to an individual track in our 24-track console and recorded separately. This gives the drummer complete mixing and editing control over each piece of the drum set during the post-production process. Each drum track can be individually edited, panned, equalized, compressed, and treated with digital ambience and effects.
We typically record each guitar take onto several different tracks through different methods - close mic, distant mic, direct line, etc. Be willing to take the time to get the best sound before you start recording, and be willing work with the engineer and take advice. These combinations can be blended to get the best overall sound for each take.
Every band member should tune between every take. Strings have a way of gradually going out of tune even during one take, and especially over the course of several hours. Use an electronic tuner instead of tuning by ear.
VOCALS
Vocals are normally recorded separately and after the other instruments. However, your singer may want to sing along with the band during recording to help everyone keep their place. This is called a guide vocal, and make sure your singer doesn't burn out or use his best take on this one. We can always record it though, just to have an extra take in case we need it.
After the other instruments have been recorded,
we begin recording proper vocals. Vocalists can choose which room they record in. Vocalists are isolated and monitor via headphones.We typically record a lead vocal take first. We believe in recording complete performances. This way, if we later composite portions of several takes, the master vocal track will still maintain the feeling of a complete performance. Compositing normally involves recording two or three complete takes, and splicing the best lines from each (for pitch, phrasing, and inflection) together onto a single track. Then we go back and record individual lines or words if necessary. After a master composite track is complete, we add any double parts or additional vocals, possibly compositing those if necessary. We can also edit harmony/backing vocals to be in sync, trimming word endings or even moving syllables to match the other vocal tracks. However, we recommend practicing ahead of time to keep this to a minimum.
Try not to make vocals an afterthought at the end of a session. We recommend scheduling vocal sessions on separate days than instrument tracking/recording. Each element is important and requires focus. Most vocalists do not perform as well after a long day of instrument tracking.
| EDITING |
You have the luxury of being in the studio, and you have every reason to be as precise as possible. If not, it will show on the final product. Some mistakes can be fixed with edits and overdubs, but others cannot. Good editing points are different with every song. In some cases, you may be able to overdub a single note, bar, or syllable and the producer can seamlessly edit it into a previous take. Other times, you may have to re-sing an entire verse or line. Usually with guitar and bass parts, you will have to redo longer portions unless there are clear breaks or pauses within the song.
Just a reminder about the process of compositing: we typically composite portions of several takes, recording complete takes so that the master vocal or instrument track will still maintain the feeling of a complete performance. Compositing normally involves recording two or three complete takes, and splicing the best lines from each (for pitch, phrasing, and inflection) together onto a single track. Then we go back and record individual lines or words if necessary. After a master composite track is complete, we add any double parts or additional parts. Once again, this process depends on having good, clear edit points. We can splice in the middle of a phrase, word, or syllable - sometimes it works, sometimes it doesn't. If an edit is noticeable, we may have to consider an alternate edit (or even recording a part again if an alternate edit isn't suitable).
| MIXING & MASTERING |
We recommend scheduling sessions on separate days for recording and mixing/mastering. We typically work with clients during recording sessions to create a “working mix”, with an additional session or more strictly devoted to final mixing and mastering. This allows clients to hear the material from a fresh perspective and prevents a rushed final product. In most cases, we've found that mixes done at the end of a recording session typically have to be remixed at the beginning of the next session. If your project involves several songs, separate mixing and mastering sessions may need to be scheduled to ensure that enough time is devoted to each song.
| WHAT NOT TO DO |
If you want to save time in the studio, don't try to rush. You'll be better off if you work to use your time more efficiently instead of cutting corners with regard to quality. If you make a mistake early into a take, go ahead and stop so you can start again. You don't really have to keep playing the rest of the song and then listen to the playback if you already know it needs redone. Listening to mistakes occasionally can help you figure out how to fix them, but that's not always the case.
Don't play your instrument while the singer is trying to record vocal tracks - or when there is careful editing or mixing being done. Those who are still working need to hear what they're working on. The same goes for sound checks (in the studio or at live shows). Don't play when the engineer is trying to set the level for another instrument. There will usually be a point in the sound check for the entire group to play after individual levels are set. Don't talk or play in an adjacent room while the singer is trying to record vocal tracks. Studio microphones will easily pick up instruments or even quiet conversations in the next room. Most experienced studio musicians will know when not to play, making the process go quicker and more efficiently. Newcomers will play aimlessly during any spare moment, even when someone else is recording or quiet listening is required. Don't be afraid to tell them to stop - you'll either end up with a rough and noticeable edit, a mix that sounds all wrong, or background noise on your vocal track. The engineer or producer will be able to cut out any extra noise on the vocal track in the spaces between vocal lines, but it's impossible to take out noises that overlap vocal lines.
Don't be afraid to record at low volumes. High amp volume works well on stage, but lower volumes often have better tone in the studio. Recording an amp at an ear-splitting level will produce a sound on CD that can cause listening fatigue upon playback (usually too much mid-range gain). After all, it's the same sound that would cause hearing damage from close range at normal stage volume. Once captured on CD, even at a low volume the sound will not be especially pleasing to the ear. You're turning down a bad sound, but it's still a bad sound. It's better to record a nice, full tone at a lower amp volume. The microphone or direct line running into the recording console will be set loud enough to get a full signal on the recorded track. The guitar volume will be balanced with the other instruments during mixing anyway, so there's no advantage to recording loudly for the sake of volume. In the studio volume is achieved using the settings on the console, not the volume settings on your amp. The only time you should turn your amp up in the studio is if it's already turned down so low that we cannot capture a decent signal. If you're recording at a volume that low, the noise will be amplified on the recording. The goal is to get a full, clear signal - not stage volume, but not a sub par signal-to-noise ratio either. Once we set up mics to optimally capture your amp sound, please do not change the volume unless it's necessary (and notify the engineer).
Don't bring extra guests that are not directly participating in the recording process. The goal is to stay focused and avoid distractions. Even worse, guests may occasionally try to offer advice that is not entirely constructive. It's hard enough satisfying band members. Keep in mind that it's about what best compliments the song, not the individual. That's why you should have your arrangements ready as much as possible before you go into the studio - but don't be afraid to let go of preconceived ideas just because you've become attached to them. Be open to experiment and try other ideas (but don't lose focus on the song itself). Give any idea a try until it proves to not be valid, and then don't be afraid to let it go. You should try not to waste time - but experimenting and adding to the song is not wasting time if it is done constructively. As an artist, it is up to you to decide what is your vision.
Don't be afraid to use as much time as needed to achieve the best result. You'll pay the studio and the producer for these services one time, but you will have to live with the results for as long as your CD is around. Albums used to be made in a day. Artists fought for years to have the freedom to spend months on a project. Now it seems like we're back to artists expecting to record in a day and have a final master at the end of the day. Give yourself time to make a record you can be proud of for years to come!