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J.B.'s Ten Commandments for the Studio

By J.B. Moore - York

1. If It Sounds Good, It Is Good

Whether you record on your porta-studio at home or 48track digital in a world class studio, Duke Ellington's immortal maxim applies. When you get sounds you like 1) be very reluctant to change things and 2) if you change things, remember what made it sound good in the first place. Audio is deceptively subtle: the smallest change in EQ, compression, effects, levels, etc. can make a huge difference. If it isn't broke, don't fix it.

2. If It Sounds Bad, It is Bad

If it sounds lousy going to tape, you can't 'fix it in the mix.' If a track is not cutting it, change it or kill it. If you aren't EQing, EQ, if not compressing, compress, if miked try another microphone: and vice-versa. And 'fess up. Admit that 1) your favourite overdub doesn't work, 2) the musical idea doesn't work, 3) the singer or player is having a bad day, or 4) the singer or player just can't cut it. But one way or another, move on.

3. Diminishing Returns or when to go home

When you and your ears get tired, even if more time is booked or your pet overdub has not been cut, go home. Slow time in the studio comes in the beginning getting sounds. Wasted time comes at the end. Remember what is important: 1) vocals 2) rhythm tracks 3) solos 4) sweetening tracks and 5) effects, in that order. Time spent cutting backwards guitar is normally best spent fixing a pitchy vocal or the bass.

4. Happy People Make Good Music

Great music is usually made when the engineer and assistant, the musicians, the singers and the producer are all wisecracking and having a good time. If something personal is bugging you, leave it at home. If something in the studio is bugs you, try not to ruin a good mood. It can stop a session dead.

5. Be Prepared

In the studio, things sound different and the whole experience can be intimidating. So rehearse and rehearse again. (But stop before things get stale.) Bring everything. Losing an hour of studio time because you don't have a $5 set of strings or a snare head or a 9-volt battery is infuriating, costly and stops a session dead. And be on time! Be early! The clock starts at the appointed hour, not when you get there, and you never have enough time.

6. Out of Time, Out of Tune, Out of Luck

If you have tempo troubles, rehearse at very slow tempos, preferably with a drum machine. Tune up early and tune up often, including drummers. If anything sounds like it might be out of tune, check it. The one exception: great performances with minor time or intonation problems, especially vocals. A singer may never get that feeling again so use an empty track or erase a less important one to try a fix.

7. Less Is More

Mixing is like cooking: one too many ingredients can ruin the dish. Mix sound like mush? Try mute buttons. The same for effects. Move faders sparingly, 1 dB at a time. Pushing up a fader is like turning everything else down. And do not be fooled by volume. Monitor low. The mix always sounds great at 10 on the big speakers (which fatigue your ears). The challenge is to make it sound great at 3 on the little speakers.

8. What to Record

The most important element in the studio is good singers and good songs. No amount of tech compensates for mediocrity. When you play out, the audience tells you what they like (and will buy!). And while it is true that some songs come alive in the studio and others die, nine times out of ten the ones that come alive are the ones the public (not necessarily your friends) like the best.

9. The Demo before the Demo

If you demo at home before going into 'the real studio,' don't overdo it. If you put endless hours into a home demo and listen to it six hundred times, soon you will not be able to imagine another version. Then you will waste time and money in 'the real studio' trying to recreate the home demo, not taking it to the next level.

10. Engineering and Engineers

Try not to be the client the staff hates. (Happy people, good music) Still, if you pay, they work for you. If the engineer says something sounds great and it doesn't, don't let it slide, but pick your spots. If the vocal sounds awful, complain. If that cute little overdub stinks, mute it in the mix. If the engineer has some technique he loves but you hate, try less of it. If the drums sound too boomy or echoed or whatever, try less or none of it.