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Recording Methods – Recording A Song A Day

Recording a Song a day

As a Music Producer, one of the most frequently asked questions I get is “Hey Jim, How do you like to schedule your Recording sessions?”

Well, if everyone in the band and/or all the session players can be there, I like to go with Recording A Song A Day.

My reasoning behing recording one song per day is that we can setup and perform with only the one song in mind. The sounds we produce and perform will be solely for the one song. This keeps everyones creative visions and ideas focused on the one sone and only the one song, from start to finish.

I’ve certainly Done drums for the album first, then bass on day 2, guitars days, 3-4 , etc. This method is very common and works as well, especially if there are scheduling confilcts within the band or with session players. In my experience, this still takes about the same amount of time as a song a day.

One of the other upsides to a song a day is not having to sing and record vocals on 10 songs at the end of the project. This can be stressful for the best of vocalists.

If You can schedule recording a song a day, I strongly suggest this method. Give it a try. Jim

 
 

Recording A Song A Day

Mic Preamp – Why Quality Matters

api-512c-mic-preampMic Pre Mojo

If you have an M box, a mixer, an iPhone or anything you can plug a microphone into, you have a microphone preamplifier AKA Mic Preamp. You may not see it or even know that it’s there, but it is.

I am a Microphone Preamplifier lunatic. If I’m producing a recording, I insist on using a studio with the quality of mic preamps that I use for my productions. It is that important!

Some might naively say “But Jim, a mic pre can’t possibly make that big of a difference”. To which I would reply “Oh contraire mon frère, an audio chain is only as strong as it’s weakest link.”

If the 1st thing your microphone hits is a substandard mic preamp, you are battling uphill from there. If you’er recording dozens of tracks (as I normally do), the sound will seem much less vital and clear with a cheaper mic preamp. You may not notice the lack of quality as much when you’er recording a single track, but when you multiply the lesser quality with many tracks, the difference will be quite apparent. It takes a quality mic preamp to help capture the true sonic properties that make a voice or instrument sound clear and present in the mix. Without quality mic preamps, you get little clarity and a lot of mush.

Much like plugging your guitar into a cheaper amp or a good amp, you can hear the difference. Like guitar amps, mic preamps have different sound qualities according to make and model. So saying which mic preamp is the best is a matter of taste and opinion.

One of the big problems with mic preamps is of course their cost. Ranging from about $800 to $5000 for a single mic pre, the typical home recording user (usually) isn’t going to buy 20 quality mic preamps. But a good studio will!

People ask me all the time, why records sound the way they do. Well, Great songs, great performances, great Production and engineering, great gear and Great Mic Preamps!

What I Recommend:
If you are recording at home and are serious about your sound quality, I would create a quality single chain by purchasing the following:

api-512c single-channel • One – API 512 mic preamp $800

• One – Empirical Labs Distressor (compressor) $1200. el8-distressor

Not cheap I know, but for 2 k you would have the same channel found in many professional recording studios and the sound to match.

That’s it for now, Good luck. Jim

Music Licensing, Mixing and Mastering

Music Licensing is a big potential windfall for any artist. By adding one extra step, you will be prepared to potentially make a lot of extra money if a music licensing situation presents itself.

When you send your mix’s out for Mastering, send your instrumental mix for Mastering as well. If you ever get the opportunity for music licensing in film or TV , you will need both mixes.

Having both mixes available for music licensing is crucial. A music editor needs to be able to bounce between the song mix and instrumental mix to accommodate film or TV dialogue. Without both the song mix being Mastered and the instrumental version being mastered, the edit becomes very tricky and sometimes too difficult to do.

Without both mixes, you may lose your music licensing placement and be out potentially thousands of dollars.

 
 

Music Licensing, Mixing and Mastering

Tales From The Vault #2

Music Producer Stories from Jim Ebert

Back in the 90s, I produced a song called “Hooch” by the band Everything. I was living in Los Angeles at the time and myself and the band were trying figure out where to record the album. The budget was ok but by no means a 90’s label budget. At the time, the band lived on a farm property which had an old, brick ,large mainhouse that was vacant. The house was a couple hundred years old and had a ton of charm. We worked a deal out with the property owner to rent the house for a month to record the album.

Then we went to work, somehow I rented a package from an LA rental company, which included: A studer 827 24 track, 10 API mic pres,2 la2a’s, 2 1176’s, an Elam 251, 2 akg 414’s, A bunch of hooch-by-everythingSennheiser and Shure Studer-a827-24-trackMics, Cabling, Snakes, and other stuff. I brought pro tools and a few instruments, the bands friends bought a console to monitor with and after 2 days of wiring, we had a studio.

As far as tracking, all the rooms in the house sounded different. We would set the drums up in one room and see what song fit that drum sound. So, we recorded drums in several different rooms. The drum loop for Hooch was recorded in the servant’s quarters(200 year old house) with 2 shure 57’s straight to a cassette deck then dropped into pro-tools for arrangement. The background vocals were recorded on the back porch after trying several other options. The only expensive mic we used was the Elam 251 for lead vocals. The rest of the mic’s were mainly 57’s.

All of this was a lot of fun and work and really made possible who rented me everything for 7k and that covered shipping for all the gear as well. This made it possible to expand our timeline from 2 weeks to 5 weeks to record the record.

It takes time to make records, to look at options sonically and musically,emotionally,
This was a magic time in my carreer and my liver will never forget it.

Music Producer Jim Ebert

Tales from the Vault #1

Music Producer Story Files

Ozzy-from-the-vault

So I’m working at A+M studio’s in the 90’s…..I believe I was mixing a Trey Lorenze track in the big SSL room in the back. A famous dark metal band from the 70’s(60’s) is mixing across the hall when the singer (famous for biting bats) waltz’s into my control room and with, a sheet of paper in hand, asks my assistant engineer how to spell “Sorcerer”…. My assistant gives him the info and he struts out. After finding out what he asked , I said “he’s had to have spelled sorcerer fifty times by now”….then we finished our mix…..

Music Producer Jim Ebert