Part One can be found here: Maximizing Success in the Recording Studio, Part One
Pillar 2, Research:
When a band feels they are able to play through all of their songs comfortably, with a low rate of error, and each song they have written is fully developed, they are prepared to record. The question is with who? The internet can be an exhausting place to traverse. Entering a simple search of “recording studios” will bring forth a bevy of results (yes, a bevy). It is best to do things the old fashioned way and have each member listen through their music collection. When the group hears albums that match their aesthetic, they should then read through the engineering credits. If their collection exists on a hard drive, or a streaming service account, they should then do a bit of online digging to discover who worked on those albums. While not complete in its ability to document every engineer’s full credit list, Discogs.com, AllMusic.com, and even Wikipedia can be good starting places. Keep in mind that quite a few engineers, bands, or their representation do not always submit all of their work to all these services, which is why these suggested databases are not the be all and end all.
At the end of their collective listening process the band should make a list of the engineers whose work resembles, or shows promise toward what the band wishes to achieve sonically. Unless the group has the ability to travel long distances, or the budget to fly an engineer out to their location, they should then begin the process of refining their choices. Communication is crucial in making these determinations. I cannot stress enough that bands nominate a single member as the spokesperson for the group and have that person call the prospective engineer directly. Since the band has already determined that they approve of the engineer sonically, the phone conversation (and continued back and forth) should revolve around gaining insight into the engineer's work process, and seeing if the engineer’s personality meshes with the band and their goals. The following is a quick list of qualities that may help a musician determine if an engineer is right for them and can act as a jumping off point to base questions and conversations around:
1. Depending on the Engineer’s concentration (Recording, Mixing, Recording/Mixing, or Mastering) each has their own approach to their profession. Some are very hands on, wishing to infuse their aesthetic with the band’s they are working with. Sometimes this is referenced as an engineer “having a sound” that is particular to that individual. Others prefer to place themselves further in the background, acting more as a guide, helping the band make appropriate decisions, but not directly influencing the band’s character. The musicians must decide which approach fits them best, keeping in mind there is no right, or wrong in regards to an engineer’s philosophy (so long as it produces solid results), only what is right, or wrong for the band themselves.
-For a more in depth view of mastering engineers specifically, please refer to an earlier blog post titled Mastering Is Quality Control-
2. One of the main aspects of Audio Engineering across all concentrations is communication. A good engineer should be reasonably available to answer your questions, explain to you what they are doing if asked, assist musicians in decision making if asked; and put musicians at ease through conversation, guidance, or polite instruction.
3. An engineer should be able to work with a band to set goals and have a working knowledge on how to achieve those goals (if they are realistically possible), or the ability and will to do research on how to achieve those goals expeditiously if the engineer is unsure in that particular instance.
After the band’s spokesperson has had discussions with multiple prospects, discovering their processes, personalities, and abilities to work within the band’s budget, the bandmates should be able to vote on the best fit for the job. By having taken the steps to speak with their chosen engineer directly and determining if that engineer’s vision, personality, and skillset meshes with the band, they should have raised their chances at choosing the best match possible for them. This will in turn increase their chances of creating an album whose sound they are completely happy with and proud of.
First time bands and bands who are on the tightest of budgets, who may not be able to afford their top choices, I will have some suggestions for you next Tuesday in Part Three. The Maximizing Success In The Recording Studio article series will wrap up in the new year with Pillar 3, Preparedness.