Using a Recording Studio

Recording Studio Stuff

Walking into a studio is one thing. Using the time well is another. This post is about the session day itself: what to say, what to ask for, and what small things change a performance. The advice comes from engineers writing in Sound On Sound, so it is written from their side of the glass, and I’ve flipped it round to what a musician can do with it.

My sources are Neil Rogers on keeping musicians comfortable (September 2020), Paul White on cue monitoring (January 2003) and Tom Flint’s report on a first-time band at Kore Studios (October 2016).

Settle the plan with the engineer first

Rogers says you can’t plan a session to the last minute, but it’s useful to tell artists what’s coming. In his view, a good engineer should know when to suggest a break, how much time to spend on an artist’s new idea, and when to slow or quicken the pace. The musician’s job is the other half of that: say what you want from the day, so the engineer can pace it.

A saxophone player seen from behind with sheet music on a music stand in front of her

Image: A saxophonist reading from a music stand during a recording session at Solid Sound Recording Studio, Hoffman Estates, Illinois (2011) by H. Michael Miley, CC BY-SA 2.0, via Wikimedia Commons.

Get the headphone mix right

What you hear in your headphones affects how you play, so ask for the mix you need. Rogers says engineers should aim to make what the performer hears inspire them. His examples: drums always sound different at the playing position than outside the kit, and for vocals a slap delay or short reverb in the monitor mix can help. Rogers also likes an artist-operated cue mix, a simple, clearly labeled headphone mixer to balance his own performance, the music and the click.

White’s Sound On Sound article gives the technical reasons behind some of that. Closed-back headphones prevent the backing track leaking into the microphone, and for vocals a temporary reverb often helps a more confident performance and can help with pitching. The mix during overdubbing should be one the performer wants to hear, not necessarily the ideal balance. Some singers prefer one headphone cup on and one off, so they can hear their own voice. He also says the overall level matters to the performance and to how accurately a singer can pitch, and that it’s best if the singer can adjust the level themselves.

If you hear your voice come back with a slight delay, say so. White says nothing throws a singer more than that, and that the fix is to monitor the vocal at source instead of through the computer.

Make sure you can talk to the control room

Rogers points out that the engineer has a talkback mic, but the artist also needs a way to talk back. He suggests a listen mic or two in the live room so that musicians don’t have to shout. If you can’t be heard, ask for one.

A microphone behind a round pop filter on a stand, with a pair of headphones resting nearby

Image: A microphone with a pop filter on a stand in Studio B at Audio Mix House by Audio Mix House, CC BY 2.0, via Wikimedia Commons.

Say what you think, and expect the same

Rogers’s best advice from early in his career: whatever you have to say after a take, say it right away, because a musician who is unsure about a take can be discouraged by silence. As a musician, the lesson I take is to ask. If the engineer is quiet, ask what they think. (That conclusion is my own.)

Don’t treat the first hour as lost time

George Apsion, the producer and studio manager in Flint’s report, said that setup time can be a stumbling block, since people think their time starts when the engineer first hits record. In Flint’s report, the engineers had set up most of the drum mics before the band arrived, and the other musicians used the time to set up their instruments and settle in. Rogers likewise says to do as much setup as possible before the musicians arrive, because making musicians wait while the engineer fiddles can ruin a session. If setup is happening around you, use it to warm up, tune and check your gear.

Know when a take is good enough

In Flint’s report, the first take was judged the best, even with a few minor timing problems and fills that could have been better. The later takes were not wildly different but seemed to lack a bit of “vibe”, perhaps because the musicians were focusing too closely on their own parts or the click. Chasing a perfect take can cost more than it gives. The producer decides, but it’s fair to ask for a break.

A short list for session day

My own condensed suggestions:

  1. Arrive early and warm up while the engineer sets up.
  2. Ask for the headphone mix you need, including more reverb for a vocal.
  3. Ask for a listen mic if you can’t be heard.
  4. Ask for feedback right after each take.
  5. Take breaks before the performance gets stale.

For the equipment side of what the engineer is doing, the series post Microphones Explained: Dynamic, Condenser and Ribbon explains how the microphones in front of you work.

Sources