External Hard Drives for Audio Production Recording & Mixing

There are a lot of hard drive options out there and as technology advances, the options keep getting better and better. The main thing to consider is the transfer rate that will send information back and forth to your computer. Most DAWs require a drive that rotates at a minimum 7200 rpm for audio. Of all the dries that the studio has used over the years. Glyph has been the one that outshines them all. We started with those Glyph Key hot-swappable drives that were easy to move from studio to home and be able to take our work with us to keep ahead of deadlines. Now everything is much more streamlined. The Blackbox series from Glyph has been rock solid for us over the past few years. The rotating drives offer a lot of storage for a very reasonable price. You can snag up to 10TB for under $330. That’s a lot of storage space! The 2TB option is listed here and is a great starting point for any engineer.

If you want to up your game a bit, you should look at Solid State Drives. These rugged drives do not have a rotating disc, but instead have flash memory that can be recalled instantly. The price point on these SSD drives is a bit more because of the new technology, but they are worth every penny. This 1TB model is very slim and slender and travels quite well. We have one that goes with the mobile recording setup and it has performed admirably. Priced at $199.95, this drive is affordable for the amount of time you will save on your workflow. If you need to move your setup on a regular basis, I would suggest that you consider the SSD version. You will have a rugged drive that can take a few bangs and jolts and keep performing at the level any professional demands.

The Black Friday Blackhole of Deals

As the biggest shopping day is now upon us, I urge all students to take caution in what you purchase. Your studio and software toolbox is going to continue to grow and it should. Just keep in mind that you shouldn't spend your entire bank account on gear that you may not use right away. It's good to build up your studio over time and get familiar with what you add to your studio so that you can be efficient with your tools. It's a good idea to take the time to learn what you have in your studio and become a wizard using your tools. 

Tell me what you're looking to buy. I'm always interested in what has your attention right now and what you think will improve your workflow and overall production. 

Here are some really affordable options that I would recommend that will not break the bank and add some very useful tools to your studio. 

1. PSP is one of the plugin companies that may not be familiar to you, but they have some great plugins. The NEX reverb and the HertzRider are currently on sale for $20.

2. The new releases from iZotope are tools that will improve any workflow.

3. Flux Pure Limiter is on sale for $39 and is a great limiter to use on individual tracks and your master bus.

4. Looking for some great video editing software that is affordable? Check out FILMORA from Wondershare.

5. Sonnox is offering 50% off most of their software. Now is a great time to go grab that Inflator plugin.

6. Plugin Boutique is offering some great deals + iZotope Nectar Elements for free with any purchase.

I'm sure you will get some great deals this weekend. Just be sure you have some cash left in your pocket to pay the bills. 

Gain Staging

Getting the right levels in your mix is the very first part of the recording process. Paying attention to your input levels can pay dividends when it comes to the mixing process. Proper levels will yield a much more streamlined workflow when it comes to sitting down to mix.

So you maybe asking yourself, “What are the proper levels that I should be trying to achieve?“

The answer to this question can vary. You have to have a vision for the end result. If you don’t have that vision, then you should focus on getting levels that optimize your A/D converters. Most interfaces are calibrated for a sweet spot around -20dBFS to -16dBFS. Hitting this area as your target RMS level will almost always give you ideal tracks to mix.

Now if you’re sitting there scratching your head and not quite sure what all that means, don’t worry. Here’s a good rule of thumb to follow. Most meters in DAWs have a color coded display. Typically green is at the bottom followed by yellow, orange, and red. If you get your average level to hover right around where the green and yellow meet, then you’re in the ballpark. This means the middle point between your peak levels and your noise floor is close to that point where the meter changes colors.

Now of course it depends on what you’re recording. Different types of sound sources are going to give you different levels. Drums are going to have very sharp attacks that will yield higher peaks. Where as a vocal that isn’t too dynamic may just hover in the same area with little movement. One of the biggest problems that I see other engineers make is the level of their monitoring. Having your monitors up too loud or down to quiet will not truly give you a representation of the signal level. This is why you have to trust the meters and your DAW and let them show you what is actually happening with you levels. These are just pretty lights for you to look at while you’re working on your tracks. These are useful tools that can mean the difference between a good or bad mix.

It’s always a good idea to leave yourself some headroom when you’re tracking. You will want to have some space to mix and that is virtually impossible when your input levels hit -3dBFS or higher. Just be reasonable when you set your levels and keep in mind that you will be blending multiple tracks to mix down to your final print track.

New studio membership benefits

The studio membership program has been quite successful and has helped musicians get the assistance they need to complete their recordings and distribute their music to the world. Part of the new studio membership is the in-studio musician training that will give all studio members access to our staff to get assistance with every aspect of their musical career. This will include professional feedback for everything from composing songs to stage performance. The goal is to provide constructive feedback that will help musicians make critical decisions about their public appearance. Not just online, but in-person, which will help develop stronger relationships with managers, bookers, promoters, and most importantly the fans.

We have 2 options for studio membership right now and may add more in the future. Both options for membership come with our in-studio training. Paired with our online services, each member has access to our services wherever they are for any occasion. So if you have plans to work on music videos or start to plan your upcoming tour, we are here to assist you with every step of the process.

Working on the mix

Today's blog entry is just about getting yourself in the right mind frame for mixing. Focus is essential and that comes with proper rest. Your mind, body, and ears should be well-rested before starting on your mix.  When you take fatigue out of the equation, your mix will have a sense of power and intensity. 

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Getting setup for a session at Shine On Studio

As you start your mix, it can be a good idea to align yourself to a reference track. Give your ears some time to adjust to a mix that has a similar energy. Absorb the sound from the reference track to put you on the right path for your own mix. This will map out the focus you need to start your mix.  

I personally like to start mixing at a lower volume on my monitors. This allows me to challenge my ears and focus on the pieces of the music that need to be the foundation of the mix. These core elements are the source of energy that puts the music into motion. Once you have all of these elements in the right place, the rest of the mix can be layered with the accent sounds.  

The mixing work you do may take some time. Give yourself the time needed to make wise decisions. You can change your mind about the mix and that is part of the journey. A good mix is one that has been given the proper amount of attention. It is OK to take breaks to restore your energy and get your focus back on track. You can take the time you need and sometimes what you need to do is step back for a while and review what you've done with the mix. 

Procrastination and anxiety are not your friends. It's a good idea to keep them out of your routine when working on a mix. You do want to stay in contact with your client throughout the progress of your mix. If you're making reference copies to review, share them with your client for feedback. Sometimes they may like an aspect you are considering to revise. Remember that this is their music, so you want them to be pleased with the final decisions. 

I hope these words encourage and guide you to be a good mix engineer. Just remember that it takes time to craft a masterpiece. 

UAD vs. Native Plugins

Everyone is in the plugin business these days. It’s the modern way to work on audio production that has embraced the digital world. With so many options for plugins, there are some things to consider before you blow your kid’s inheritance on software. First thing is what DAW to choose and that should also go with what plugins are included with that DAW. Most of the DAWs out on the market all come with a decent set of stock plugins. So you have to consider if those stock plugins will be sufficient to get you going and give you the tools you need to start mixing the way you want. Now if you feel that you need to add to your toolbox and get some additional plugins to fine tune your mixing there are a few things to keep in mind. All the plugin companies have formats that should be compatible with most of the big DAWs, so you have quite a few options.

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UAD Fairchild Compressor

Focus on plugs that give you something that you don’t already have in your system. Mainly a new tool that will enhance your mixes and give you the control you need to shape the mix. Compressors are bountiful and there are many different types out on the market. What do you need that you don’t already have? More color? Better transient control? The best way to find out is demo a few plugins and see if they give you the edge that you need. Most of the plugin companies will offer a trial period, which is exactly what you should do before investing. Even if you watch a video or someone tells you that you should buy a plugin, I always recommend running it through the trial period to give yourself some time to find out if it’s what you need.

Most companies offer native plugins. These are plugins that work with the DSP processing power of your computer. They’re great because you don’t need any extra hardware to run them. The only limitation is the processing power of your computer. One of my favorite native plugin companies is Plugin Alliance. These plugins are modeled emulations of some great pieces of gear and they sound great. The audio quality is clear and gives you the sound that your mixes need.

Now if your computer doesn’t have the power to run these native plugins, you can look into getting a UAD system that provides the DSP processing for your plugins. Universal Audio has a line of interfaces and satellite boxes that allow you to run the UAD plugins. The Apollo system has many options and price points and this makes them a good option for any studio setup.

You can get the same plugin on both UAD and Native platforms. So do you need to have both versions? I’d only say yes if you need to delegate your DSP processing. I’ve used both platforms and I don’t notice any big differences between the sound. I’ve done null tests on the plugins and they cancel out when the phase is inverted. The main difference is the way the plugins run on the system and the price. UAD is a bit more expensive, but does free up the DSP on your computer for other plugins and processing.

I recently asked a question on the Plugin Alliance forum to find out how everyone felt about the differences between Native and UAD plugins. You can read the comments here.

If you have anything to add to this discussion, please leave a comment.

Prism Sound Titan

I’ve added a new flagship interface to the studio to add more clarity and depth to our production. I met Frank Oglethorpe at an event in San Francisco and got to hear the Atlas & Titan in action. The audio detail was giving me chills and put me in a space where the music was visual.

The Titan was in a small studio room that had treatment on the walls. It was an ideal situation to test out the ability of the DA and hear some recent mixes I’d just finished vs. mixes at the hosting studio. There was a difference in the low end where the frequencies had more depth without the mud. I immediately knew I had to demo a unit at my studio to hear if the mixes benefited from the converters in the Titan. 

Engineer David Hughes at Shine On Studio.

I connected with Jeff Briss from Cutting Edge Audio and got the approval from Frank to demo a Titan. When it arrived, I wasted no time connecting it to the HDX system. The first mix I played came to life and filled the room with rich detail and precision clarity. My eyes got large and my ears were saturated with excitement. This was such an amazing experience that I knew a Titan was the missing piece for the studio. 

I’ve had the Titan now for a few months and the response is exactly what I want to hear from my clients. Everyone loves the full sound and clarity that the audio has on every system they playback their music. This was a serious investment and it has already paid dividends that make it worth every penny.  

I highly recommend Prism Sound and their audio interfaces. Send me a message and I’ll hook you up with info on how you can connect with the right people to demo a unit for yourself.  

Mixing with Headphones - Which Ones to Use?

   This is a question that seems to come up quite often, so here are my thoughts and some recommendations for mixing with headphones. First thing is that it is OK to mix with headphones. Lots of great albums have been mixed on headphones and you can get a professional sound. For many DIY musicians and home studio engineers, the mixing room is not always optimal for sound. A decent pair of headphones will give you a more accurate presentation of your mix.

    Now here is a main factor to consider, the quality of your headphones really does matter. Not all headphones are created equal. Some headphones are designed specifically for the studio and others are designed for listening and playback. So how do you know what is the difference between headphones? Most studio headphones actually put on the packaging that they are studio headphones. But words don't necessarily mean that you will get the quality needed to mix properly. It is always advisable to listen to a pair of headphones before you commit to buying them. I don't recommend buying headphones because of the name brand or because someone famous endorses them. Companies are in the business of selling their product, so you can't just take their word or reputation for granted.

   I've owned lots of different headphones over the years and some are good for recording, some good for mixing, and some good for listening and enjoyment. Every pair of headphones I've owned have had their own strengths and weaknesses. It just takes time for you to get used to the sound your headphones provide so that you can be productive in your mixing choices. If mixing with headphones is the route that you plan to take for your post-production, I'd suggest getting a decent pair of headphones. Many of the headphones in the $99 - $199 price range will give you a decent representation of your mix. Let me give you my experience with a few different models that are out on the market.

Sennheiser HD 280 Headphones

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   When I was starting out, I used Sennheiser HD280headphones for recording and mixing. These are great headphones for all applications and music. They have rich detail in the low-mids and don't get too harsh in the upper frequency range. That's a bit of good news for your eardrums. These headphones are comfortable and do collapse down for easy transport from one place to another. I'd say the big plus for these headphones is the price. At under $100, these are some of the most affordable professional headphones you can buy. Especially if you're on a budget and would rather spend your money on gear or mics. The ear pads can be replaced when they get old and worn out, so you can keep the feel of these headphones in a feels-brand-new fashion at any point.

Beyerdynamic DT 770 Pro

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   I moved on to a pair of Beyerdynamic DT 770 Pro studio headphones. I was initially impressed with the comfort, quality, and sound of these headphones. I demoed a pair at a local pro audio shop and a few minutes later walked out with a brand new pair for the studio. Now these are a bit more price-wise, but you get quite a bit for your money. The large ear pads are extremely comfortable and they don't squish your ears against your head. This was a huge plus right off the bat for me. For $199, I felt like I purchased a quality pair of headphones that would give me many great hours of recording and mixing. I used these headphones for about 2 years and mixed some of my favorite albums with them. Yet as the years went by, I started to be a little more critical of my mixing and felt that these headphones were not giving me enough detail on the high-end. This was frustrating, so I went back to search for a new pair of headphones. However, I do still use these headphones for recording and mixing from time to time. I still like the comfort and the relaxed feel they provide. Most of my clients prefer this pair of headphones when they're tracking and I agree that these are headphones that you can wear for a long period of time and not get too fatigued.

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   After some research and field testing of some different headphones, I decided to go with the Shure SRH840 professional studio headphones. There are a few reasons I chose this pair of headphones and I still feel like these are the right pair for most studio applications. The ability to easily replace the ear cushions and the cable are big advantages, so I'm already a little happier. This is just the tip of the iceberg. The sound quality of these headphones is transparent and dynamic. The drums that I've mixed with these headphones are crisp and punchy without being too muddy or boomy. I've also been able to get a better vocal balance in my mixes with these headphones. Having a good vocal balance can really make or break a song. You have to have faith in your headphones to give you a clear representation of your mix. To be able to trust your ears and rely on your headphones is crucial.  These headphones are comfortable for short periods of time, but a long studio session can be rude to your ears and neck. These headphones are a little heavier than some other pairs I own and I notice that my neck can get cranky if I rock the headphones for too long. Overall, these are the best pair of headphones that I could find under $200.

Now one thing to keep in mind is that I don't solely use headphones to work on my mixes. I also use the studio monitors, but I regularly check my mixes with headphones. I recommend taking regular breaks if you are using headphones. Give your ears some time to recover and unwind from the constant noise that is only inches from the eardrum. These are just a few of the headphones that I own and/or have used in my career as a musician and producer. There are so many options out there and manufacturers keep improving on the designs, but I stand by my original statement that you need to go out and actually put the headphones on and listen to them for yourself.

Sometimes it is good to use earbuds to check your mix. You may be asking yourself, "Why would I use earbuds to check my mix?" Well, good question. The main reason is that your mix will most likely be heard on earbuds by the majority of listeners. Mobile music is the new trend and everyone has earbuds with their phones and MP3 players. So get in the game and make sure you are covering all your bases.

I did just purchase a pair of the Focal Spirit Professional headphones as a personal pair for my own listening enjoyment. I haven't had enough time to evaluate them, but my first impression is that they are on par with the BOSE noise-cancelling headphones. The ear cushions are quite snug and I don't know if I would use them for mixing. When I have more experience with them, I'll post my thoughts.

Producing Music - Where to start

Producing music is something that takes time to craft and comes with lots of experience. If you're one of the gifted few that can just produce w/o experience, you may still get some insight from this post.

Producing is the construction of music. You have to make choices about the project as a whole and this will include things like EQ, panning, compression, lengths of the delay, when to delay, when to chop up the vocals, when to add guitar solos, how the song begins and ends, and everything else that happens in between. This is not an easy task, but it does have huge rewards that are long-lasting if you do it right.

To achieve this goal, you need to do a bit of homework. Start by listening to some of your favorite music. Pay close attention to all the little details. Take notes on when each instrument comes into the mix and where it is panned in the stereo spectrum. Then pull apart the mix in small bits as you explore every aspect of the sound. A well-produced mix has many layers and when you examine each layer, you will understand how the producer constructed their masterpiece.

To keep you on the right track, start reading some books about producing that have been written by the masters. "Behind the Glass" is a great perspective of what it's like for producers working in the world's biggest studios with some of the most famous musicians. Gain some insight on what will be ahead of you before you cross that bridge.

Once you think that you have a good grasp on how to produce, go and find a small band that is just starting out and see if you can produce them. If you can produce a band that has very little experience in the studio, then you're ready to start your career as a producer. It is no easy task to work with musicians that have never worked with a producer. If you succeed, that is one of the most difficult hurdles to overcome. You've got a lot ahead of you and the rest will fall into place as you move along. You may not succeed right away. In fact, it will take time to get settled into the role. Keep plugging away at the challenges that arise and you will find ways to overcome them.

If you want to start even smaller, just try to produce one song on your own. Do some MIDI composing and get some samples together. See how long it takes for you to come up with the melody and rhythm. This will give yo some insight as to how long it will take when you work with other musicians on their production.

Plugins - An open discussion

There are way too many plugins out there and you may feel confused on which ones to buy and incorporate into your workflow. Here is an open discussion for you to ask questions and get insight for all those plugins. I'll regularly post any new releases or deals that I come across for those plugins that you should consider adding to your system.

The effort it takes to run a recording studio

The dream has been achieved! I am living the life I've always wanted and it feels great to work in my own studio everyday. The rewards are tremendous and there is nothing I'd rather be doing with my time. Being so immersed in my work on a constant basis has given me the knowledge and experience that is required to work at a professional level in this industry. I know many of you are looking to attain the same goal, so let me share just a fraction of my awareness with you.

First, running your own business, regardless of what you do, is no easy task. There are quite a few things you need to consider before diving into starting up a recording studio. Consider this, you'll need to cover your overhead and start up costs before you see a dime of profit. The initial investment is what overwhelms most entrepreneurs and that is just the tip of the iceberg. You're going to need a computer that is powerful enough to handle the processing, a DAW software program, an interface, lots of cables, mics, mic stands, headphones, headphone mixers, racks for gear or road cases, power conditioners, external hard drives, and potentially a studio space. This is just the foundation, there are plenty of other bells and whistles that you'll need to pull off a professional studio.

Now that that idea is rattling around in your head, tackle this notion, you will need to budget for electricity, water and sewage, garbage service, insurance, a security system, and rent. So your budget on a monthly basis is around $2,000 just to keep the doors open. That's the cheap end of the spectrum, which will probably not be adequate enough to compete in the market.

Now if you've invested a large chunk of change into an education in audio production, owning your own studio is the ultimate goal. These startup and recurring monthly costs are just scratching the surface of what you need to consider for operating a steady and reliable studio business. I just wanted to get your mind in motion for all that needs to be considered. Check back in soon as my next few posts will dive deeper into the elbow grease that is needed to keep a studio running smoothly and having the stamina to build a solid reputation to keep the machine well oiled.

Building a Home Studio | Top 10 Microphones

Microphones are the pulse of a studio. They capture the sound and deliver it to the interface. This is the first point of contact where the sound is captured and harnessed to be preserved for eternity in the digital realm. Every mic has its advantages and disadvantages. In the right situation, a good recording can be made with a handful of SM57s and one large diaphragm condenser.

Now you may want to build a vocal studio or a full-production studio for instruments. Either way, you're going to need some mics that will get the job done. I've put together this list of mics to help you get started. These mics range in price and offer many different levels of quality. Based on what you want to record, I'd say stick to a budget that isn't going to deplete your bank account.

If you are on a tight budget or don't want to spend a lot of money on buying all the gear, I've got the solution for you. The Neewer line of mics comes with everything you will need. The kits include a mic, cable, table clamp arm, windscreen, and pop filter. This will literally get you going right out of the box. If you download a recording program like Audacity, you can be up and be running for under $50 total. This is just insane! The NW-700 model gets you in for $23. You can upgrade your setup to the NW-1500 for $36. These prices are very reasonable and you will have something to get the ball rolling and figure out if this is the path you want to take. Now lets move on  to the more sophisticated and more professional mics.

If you're going to be doing Voice Over work for TV or radio commercials, the Shure SM7B is the primary mic you should be considering. This mic has become legendary in the world of VO production. I use the SM7B to narrate all my YouTube videos. This mic has the iconic Radio Station look and is great for recording vocals on music tracks, too. This is a dynamic mic, so you need to get right up on it for good presence. It has a built in High-Pass Filter and a presence boost. You can select either of these options directly on the back of the mic. This allows you to tailor your recordings right from the source. With the additional foam windscreen cover that comes with the mic, this is the best option for anyone getting serious about vocal recordins of any kind. As a perk, this mic is also a great option for recoridng guitar amps. 

The Shure SM57 is a tank & a workhorse. It's great for recording almost everything. This dynamic mic can take a beating and still give you great recordings. It's ideal for recording snare drums and guitar amps. Each SM57 has a different sound, so it's a good idea to have a few in your mic locker. These mics are $89 each, so you can get 3-4 and use them for more than just mono recording. If you place them properly, you can put a few on a guitar amp and get a huge sound!

Focus on getting a decent vocal mic that can be universal for other applications. The RODE NTK is a great place to start and will be a handy mic to have when you start to build up your mic collection. This large-diaphragm tube mic has warmth and character that gives vocals the texture they need to fit nicely into a mix. RODE has a long lasting reputation as a microphone manufacturer and I've had my NTK for 15 years and the beast is still getting used every day in the studio.

If you're going to be recording drums, the AKG D112 is a popular mic for kick drums. The D112 is also great for recording horns and brass instruments. This mic is primarily best for percussion instruments. I've had good luck using it on a traditional kick drum and congas. I've always found that it provides the right amount of attack and punch to keep the drums right in the mix.

The Shure Beta 52A is another great mic to have in your locker for tracking kick drums. The design is simple, but the results are amazing. 

If you're in the market for a USB mic to work on your computer or laptop, there are some really affordable options. One you probably heard of is the Blue Yeti. This little guy has a built in stand and controls for your headphone output directly on the mic. If you need a no-hassle mic to start your recording, this is by far one of the best options. At $129, it's also a very affordable mic that will provide quality audio recordings. 

The other options for USB mics are quite vast. You may want to consider the Marantz MPM-1000U or the MPM-2000U mics for a more traditional option. These mics are USB powered and provide a very clean and open sounding audio recording. The 2000 version comes with a shock mount to help with the dissipation of rogue vibrations that may bleed into the mic. Both will provide good quality, so go with the one that fits with your budget. If you can spring the extra $50 for the 2000  model, you will notice the improvemnt in the audio quaility. 

There are so many options that it is impossible to keep this post short and still pack in all the details about microphones. If you're considering a mic for your studio, leave a comment below and we'll start up a discussion about it.

Building a home studio | Part 1

Starting a home studio can be confusing at times. There's so much information on the web that you don't know where to start. Here are a few helpful tips on how to get your studio going.

Start with a budget. Stick to the budget. You're not going to build a world-class studio overnight. It takes time to develop a feel for how a studio operates. Buy affordable gear at first to determine if you have the talent and stamina to run a studio. Running a studio is a full-time job and will consume all of your free time. So it's best not to invest all your money into the studio up front.

Get a decent interface. One that has a few mic preamps and some routing options. As you grow, you can upgrade your interface. There are so many options, but you can find used Digidesign 192 HD interfaces on eBay for about $500. Start with one of these if you can afford the system setup. If you're on a tighter budget, I recommend an interface that has been modified by Black Lion Audio. They offer superior A/D conversion and at a price that won't break the bank.

This will be the core of your studio, so spend a little bit of time researching what will work best for you. A good computer is also vital and there are many PC & Mac options. We'll get into that tomorrow.

Internship Dos and Don'ts

I respond to internship requests on a daily basis. Many of the requests are one-sided and offer no benefit to the studio. Here's the deal, an internship is beneficial to both the studio and the intern. If you want to intern at a studio, you have to possess some sort of value to the progress of the studio. The studio is going to give you experience and education so you can be a competent member of the industry. If you have nothing to give back, you'll never get an internship.

Before you go and start pestering studios, you need to do a little prep work. Start with reading a few books on Pro Tools and recording principles. You can read books on many different topics and learn quite a bit about the industry at your own pace. Educating yourself adds so much worth to your assistance in the studio. Once you know the difference between XLR & AES cables, you will move quickly through patching and studio setup.

Buy some gear and do some home recordings. Get a little bit of experience with using a DAW and play around with the settings. If you want to learn Pro Tools, go to www.avid.com and sign up to receive Pro Tools First. It's a free version of Pro Tools that will get you started. Most professional studios use Pro Tools HD, so there will be a slight learning curve, but getting familiar with the fundamentals is important.

Watch a few videos on YouTube and ask some questions in forums. Do not show up to the studio with a bunch of questions. When you're in the studio, just observe! You're there to learn and the engineer is there to work. If clients are on the studio, keep your yapper shut. If someone asks you a question, answer them, but that should be the only time you speak.

If you do have questions during a session, write them down and save them for after the client's session. It all boils down to manners and common courtesy. You need experience and that is what you should absorb. Being in the room while a session is happening is chalk full of experience. Pay attention to how the engineer conducts the session. Keep track of how many takes are recorded and how they're recorded. When the session is over, start to help with the break down. Ask the musicians if they want help loading their gear. Be helpful and it will be rewarded.

Mixing without plugins

How many of your mixes have plugins strewn across each and every channel? I'm going to guess almost all of them or at least a good portion of them. Are you relying on the plugins to make your recordings sound better? Have you ever tried to mix with just panning and volume adjustments?

Today's modern engineer has become too dependent on digital enhancements of recordings. Things like proper mic placement and quality mic preamps have been replaced with software that constantly needs to be upgraded. Thus, music is loosing the ambiance and mood of the performance that was captured in the studio. Lush layering techniques are being replaced with copy & paste keyboard commands.

I pose this challenge to all engineers that are mixing with a DAW; make a rough mix of your recordings with no plugins just so you can hear the naked truth about your mics, mic placement, and room reflections. Mastering what mic to use and where to place it to capture the best sound will exalt your recordings to unparalleled quality. Musicians will flock to you once you've learned how to capture the purity of sound and translate it in to timeless recordings. If you are using plugins like training wheels on a bike, it's time to grow up and learn how to balance your mixes with knowledge and experience.

Recording | Guitars

Recently recorded a project that had some heavy guitar riffs. The guitarist wanted to get that overdriven tone, but still retain clarity. This is always a challenge for any engineer. Mic choice and placement are crucial. Amp volume rears its ugly head in your face and can create a nightmare for you in the mix. Here's how I did it without spending a lot of time trying to get just the right take in one shot.

Setup a few mics in front of the cab. I like to use a Shure SM57, Shure SM7B, Sennheiser e606, and Sennheiser 421. Put one in front of each cone slightly off-axis and pointing away from each other. Then run the guitar to a DI for tracking the clean signal and then thru to the amp head. Based on how many mics you setup + the DI, you'll have a decent amount of tracks to work with. Normally, I don't use all the tracks, plus there can be phasing issues. All I need is one good track from the take and we're golden.

The first take should be at the level of overdriven tone that the guitarist prefers. Then reamp the clean signal with the amp at a slightly lower volume. This should give you more clarity from the performance. You can keep doing this routine until you get enough layers to blend in the desired sound for the guitar tone. Pan out the different takes and adjust volume levels to widen the mix.

This is just the concept. You'll need to experiment with your setup to find out what works best.

Recording | Drum Setup

Tracking drums is an art form that takes years to get right. There is a lot of trial and error, so get used to disappointment. You have to really grasp your mics, gear, and room. That said, there's one major problem with tracking drums. The drummer keeps changing. Not all drummers can be good studio drummers, so here's a few tips on making sure you get good drum tracks on your recordings.

First, studio drumming is not the same as live performance drumming. When you have microphones all around your kit, it does take a little finesse to get good takes.

Second, the drum setup is completely different in the studio. There needs to be separation between the high hat / cymbals and the toms. This means that the cymbals need to be raised up higher so they're not in the same plane as the drum heads. You may not agree with me, but your album will be all washed out.

Third, microphone placement is crucial! This one I can't stress enough. If you have a tom, a cymbal, or whatever the hell is on your kit and you only hit it once, get it out of there. That can be overdubbed later and does not need to take up real estate that the mics need.

These are just the foundation for a good drum setup in the studio. Leave comments or questions if you want to hear me rant some more.

Drum mics | Kick Drum Recording

The biggest drum seems like the easiest drum to mic, but this big fella can be tricky at times. You really have to pay attention to the music. The tone of the kick drum needs to match the tone of the music. This requires selecting and placing the right mic in the right spot to capture the tone that you need.

There are a few options I recommend. The Shure Beta 52 is a rock solid mic for any recording. It provides depth, punch, clarity, and snap that works well with virtually every recording. You can never go wrong when using this microphone to record your kick drum.

My backup mic is the AKG D112. This egg-shaped mic is versatile for many recording applications, so it's an excellent choice for those of you on a tight budget. Besides kick drum tracks, this mic works well for recording any instrument that has a lot of low-end detail. I've used this microphone to record congas, bass guitar, trumpets, horns, and vocals. So for the $199 price tag this mic carries, it's well worth the investment.

The third microphone that I recommend is a little unorthodox. The RODE NTK is a secret weapon that I like to use when I need a bit more slap in the kick drum. It's a tube-based condenser that has a magical sound when placed in just the right spot. Usually I find that spot slightly off-center in front of the drum head. The $499 price on this mic does put it in the slightly expensive category, but this mic can do it all. From vocals to acoustic guitar, this mic is excellent on almost any recording.

Hope this helps you get better kick drum recordings. Happy tracking.