The other three parts of the series can be be found below: Maximizing Success in the Recording Studio, Part One Maximizing Success in the Recording Studio, Part Two Maximizing Success in the Recording Studio, Part Three
Pillar Four: Preparedness
The final key to maximizing success in the studio is to be prepared. This goes beyond the act of rehearsal and into the part of the mind that is responsible for organization and anticipation. Having a detailed plan that allows for flexibility gives a band a roadmap to follow, while being able to deal with unforeseen events both large and small. The vast majority of people would not want to take a week’s journey without their GPS, why would a band allow itself to blindly navigate the studio environment? No matter what level of experience the musicians have with recording, in the time leading up to their studio date, the elected spokesperson of the group should be in contact with their engineer and review how the engineer plans to lay out the recording days. This will provide the musicians with a framework they can build upon, in regards to the aspects of the recording process they are responsible for.
Once the recording day layout has been determined, the bandmates should begin to breakdown the instrumentation that is required for each song. Members should review their parts and make determinations as to which areas of songs need to be tightened through practice, or if arrangements need to be better structured. Demoing the songs out on any kind of recording device(s) the group owns (cell phones, to handheld recorders; to full fledged mixers, paired with digital audio workstations) will aid the band in listening to their music from the audience perspective. This will lend a vantage point outside of the player’s position, thus allowing the musicians to check for musical cohesion.
After all parts are reviewed, they should then be broken down in a list, or graph format on a song by song basis. When the recording studio clock is ticking and the band’s adrenaline is up, some song components can be overlooked, especially if the band is overdubbing parts that are not normally played live, or when the band is recorded in sections. There is a reason why many recording studio pictures and documentaries have a graphed white board in the background. The whiteboard is visual checklist of what has been, or is to be completed during the recording process. It is a goal setter, taskmaster, road map, and a reward when every part of the graph has been checked off.
[Trophy Scars Check List at Portrait Recording Studios (session not affiliated with Phantom Center Media), picture from: Portrait Recording Studios Facebook]
If the band can write and read sheet music, and is working with an engineer who can do the same, it may be advantageous to supply the engineer with a copy of their material. This will allow the musicians to clearly indicate what part of a song they wish to discuss, or punch in more quickly with the engineer. A wide breadth of musicians have successfully recorded without this method, but they can take a page from this concept by naming sections of their songs for quicker reference, which can be further clarified by sending the recording engineer notated demos. It is much easier to tell an engineer that the group wants to punch in Part A on Song 1, as opposed to trying to loosely describe a section with a plethora of music adjectives, or rough time estimations. For this reason it is highly recommended that singers give copies of their lyrics to their engineer, as the recording process will move at a faster pace when exacting references are in place.
[Trophy Scars Sheet Music at Portrait Recording Studios (session not affiliated with Phantom Center Media, picture from Portrait Recording Studios Facebook]
On the final days leading up to the recording session, the band should be noting what equipment they will be taking with them and what equipment they will be, or may be using from the studio’s inventory. Some studios have maintenance fees for equipment like drums, in order to replace the heads after a session wraps up, the spokesperson for the band should discuss with the engineer what policies are in place. Band’s themselves should also be doing their own equipment maintenance checks. Drum heads should be replaced before entering the studio and cymbals should be in great playing condition (unless a particular sound is desired), in order for the kit to operate at its optimal level. Guitar and bass strings should be changed and amplifiers should be gone over to ensure everything is in proper working order. Synthesizers, or any kind of sound generating equipment should have their connections listened to, to confirm that the equipment is functioning without issue. Any kind of digital programming should be backed up, allowing for a safety copy for storage, a playing copy for the studio, and a backup copy for studio use if the unfortunate instance of drive failure occurs. Instruments that perform at their best, allows them to be recorded in their best light, and lessens troubleshooting during a session.
Bands who 1. Rehearse, 2. Research, and 3. Prepare should be able to lower tension and anxiety around the recording process and therefore create a more pleasant and productive studio environment. By taking the time to lay groundwork before entering the studio, and following a flexible plan when within it, the musicians should feel less strain under the clock. This will grant an atmosphere that focuses on creation, and will maximize the potential for a successful session.