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.

NAMM 2019

It was another great year attending the NAMM convention in Anaheim. This year I focused on making some new connections and getting to know more about the industry. I met many talented musicians and innovative thinkers. Yet, the information available was what really refueled my passion for recording and mixing.

Tony Maserati - NAMM 2019

I heard some great lectures by Tony Maserati, Fab DuPont, and Jacquire King, just to name a few. Taking mixes and letting them take on a life of their own seemed to be the universal theme from many of these talented engineers. Using parallel aux tracks to blend layers of textures was a reassuring message since that is how I do many of my layering techniques. What I found the most interesting was how each of these pros set up their EQ and compression chains. Seeing and hearing how they shaped sound has really opened my thinking about how to approach a mix.

I’m going to be spending a lot of my free time to practice some of these techniques and start developing some new signal chains. This will create a new sound for all of my mixes that will benefit every client at the studio.

Among the many things to see, experience, and hear at the NAMM convention, I also spent some time listening to the educational talks that where happening at NAMM U. I’d love to share some of the ideas and techniques that were discussed at these lectures. Set ups some time to come by the studio and we can engage in a discussion that will definitely help you get a better understanding of the music industry and how it can be integrated into your marketing and social networks.

Recording Studio Tips | Turn your phone off

When you're in the studio, turn off your cell phone. There is nothing to be gained by allowing the outside world to interrupt your genius. Focus on the music and let the moment unfold with your undivided attention.

If you use your phone for lyrics or notes, that's obviously something you need handy. Just move it into airplane mode and resist the temptation to play any games. If you take photos with your phone, save the social media sharing for after the session. Unfocused time in the studio is wasted time in the studio.

How to prepare for a Recording Session

You're ready to record your music, but you've never been to a recording studio. Let me give you a few tips on how to prepare for your recording session.

First thing, be ready to record. You need to be well rehearsed and have final versions of your songs ready to go. Don't waste any time trying to figure out parts of a song. Have everyone on the same page so time can be spent getting good takes for mixing.

Second, give all your instruments a tune up. Put new strings or drum heads on a day or two before your session. This will give them time to stretch out and stay in tune while you record. Always bring spare strings,sticks, straps and other gear so you don't waste any time running to the store. 

Third, be well rested for your session. It's important to stay focused and attentive to every aspect of the session. Keep your ears rested. Don't listen to loud music before you go into the studio. Bring snacks and bottled water with you to keep your energy up.

Forth, protect your investment. You're spending your hard earned money on the recording, so be prepared to back it up. Bring a hard drive or flash drive with lots of empty space to back up all of your recordings. HD sessions can get big quickly. High sample rates and bit depths create big files. The average 4 minute song can have a folder that is 5 GB, so if you've got 10 songs on the album, you'll need 50-60 GB of storage. It's always a good idea to bring blank CD-Rs if everyone in the band wants a copy of the rough mixes.

These are just some of the basic things you should prepare before going into your session. It's always a good idea to discuss your project and ask any questions before you get to the studio. If you and the engineer are on the same page, the session will move along efficiently and the recordings will reflect the productive environment.

Mic Placement

We had a discussion last night about the struggles of finding the right sound for a particular song being tracked at the studio. The discussion led us down a path of thought that started to get us thinking more outside the box. The studio drummer, CRISPy CRUIZeR, was brainstorming a new plan to use microphones of all different types. What if the guitar amp was tracked with a mic designed for the kick drum? Would a D112 give us the bottom end that we're seeking? This got us thinking even more about using some of the gear in different ways. Maybe it's time to dust off the MiniDisc recorder and the DAT machine. What if the compression ratios of these digital machines gives us that little extra punch that the drums need to sit bigger in the mix? These are questions that get us intrigued and in this business, strange and unusual is typically the most fascinating.

GoPro & Shine On

My #AmazingWife bought me a #GoPro camera for the studio. A bunch of the new photos were taken with the new camera. This little camera is fascinating. The ease of use and the simplicity of it are genius. The photo quality is down right impressive. I'm working on some short videos that I'll post on the site very soon. Just an FYI to bring your A-game to the studio cause we'll probably shoot some GoPro video for your next music video.