Recording - March 2010 - 17

Remember to check your axe(s). This is something that’s easy to miss when you’re embroiled in all the technical preparations. It’s very distracting to get all your equipment set up and hit Record only to find that you have a string about to break, a valve that’s stuck, or a reed that’s thirsty. If you’re using multiple instruments in your recording, remember to tune to a single reference pitch. Use a goodquality electronic tuner like a Peterson or tune to a keyboard. I often play several different wind instruments on my recordings but use a single note from a keyboard to tune. This is because an electronic pitch will be more consistent than a pitch generated by wind power. If your recording is to include an acoustic piano (hopefully in tune), use that as a tuning reference, since that’s one instrument you won’t be able to easily retune during a session. Place any string or wind instruments on their stands so they’re handy but well out of tip-over range of the microphone area. Turn off the telephones. All of them. I don’t want to tell you how many times I’ve been bitten by that one. Take a moment to listen for any extraneous sounds. Is there a connection happily humming? How about household sounds? After making sure you have the quiet you need, do one more sanity check. The mic is plugged in and the level is good, right? Now that everything is set up, take a short break before hitting the Record button. Mentally remove yourself from the technology for a moment and remind yourself of your musical vision for the song you’re about to create. You’re on When you’re recording solo, where there are so many technical considerations that come into play, you need to constantly remind yourself that what’s most important is your own performance. Often, you’ll have a tendency to rush while performing. People who act and direct in the same movie speak about this. When they’re acting, actor/directors often say their lines too fast, because they are not focused in on the acting to the exclusion of all else. Be aware of this phenomenon and listen for it on your playbacks. Take time to focus on your performance. While you’re playing, try consciously thinking about slowing down if necessary. Give yourself more up front clicks than you normally might before you start a take. Instead of the usual one to two bars for a lead in, use three or four instead. This will give you the time you need to get from the computer keyboard to the recording area. It should also give you time to focus on your performance. Adjust the number of lead-in measures accordingly to compensate for very fast or slow songs. You don’t want to use too many lead-in bars or you run the risk of losing focus while you wait to come in. If you’re using a microphone, check headphone leakage from previously recorded tracks. Do this by hitting Record and standing silently in front of the mic for a few seconds while wearing your headphones and listening to what you’ve done already at a comfortable level. Then play back the track, listening for leakage. While you’re playing or singing, if you have some rests during the song, glance at the meter to double-check for clipping. (Most DAW meters have clip lights that stay lit until reset if you go over on a take.) If it’s comfortable for you, record with one ear off the phones. This helps in a couple of ways. You can often better judge your own performance when listening this way. Also, it’s always possible that a noise can start that would ruin the take while you’re rolling. This has happened to me on several occasions, most often as an airplane tries to butt in. When I’m recording with one ear off the phones, I use regular closed headphones pulling the right earpiece over, so it’s pressing against my neck or the back of my head. This stops any bleed into the mic. As an alternative, you could hard pan the monitor output so you are only getting sound in one ear. Either of these techniques represents a compromise, though, as some people like to be sonically immersed in the recording experience. Just be aware that you do run the risk of having an unwanted accompanist show up in the middle of a take! While we’re on the subject of monitoring, be aware of the “equal-loudness contours” principle (a.k.a. the FletcherMunson curves). If you’re unfamiliar with this, there is plenty of technical information explaining the subject online, and a very good article on the subject in the September 2000 issue of Recording. The bottom line is that keeping your monitoring level at about the same level of SPL allows your ears to hear a relatively flat signal, one that doesn’t artificially emphasize either the treble or bass. Changing to significantly higher or lower volumes while monitoring will likely cause you to make unproductive use of your eq. Take breaks, take notes I find one of the hardest parts of recording by myself is taking breaks. When you’re “in the zone” it’s hard to pull away. But taking a short break every hour or so will help your recording. Besides the physical replenishment, a break gives you the chance to think and get some perspective on how the session is going. Remember to take notes about the takes and any instrument settings. I keep a text file for each project that includes the instrument settings and any notes I need. The keyboard instrument settings are especially important if you want to punch something in later. I later add to this “settings document” during the mix process, making notes on effects as well. This helps if I want to go back and remix at some later date. This document also helps if you want to duplicate a particular sound on a future recording. Use a pencil and paper to note settings, if that’s faster for you. Then, after the session, either type your notes or scan the paper you wrote them on and save the scans with the project files. Alternately, consider using a portable recording device as a means of keeping notes. A portable recorder can also serve as a backup for your entire session. I’ve used a Zoom H2 with a 4 GB memory card for this. That setup allows over 6 hours of WAV recording. If you place the recorder near the microphone, in a pinch that recording could even be used as a backup in case of a computer foul-up or other technical problem on a fabulous take. Aftermath You’ve had a great session. You see the sun coming up so you know it’s time to quit. Before you exit your software, do a quick, rough mix and copy it to your MP3 player or burn to CD. Having a CD gives me a sense of accomplishment at the end of a session. After you exit your DAW software, be sure to back up your work.Then, when you’re away from your studio area, pop the CD into your stereo and share it with someone you like. Building a collection of recordings that you’ve created all by yourself can be a very satisfying artistic experience. Just remember to “put your right foot in and your right foot out” as needed. When he’s not writing articles, David Summer (summer@recordingmag.com) works as a web programmer, performing musician and music teacher. He also produces music education podcasts which can be found on his website at www.summersong.net. RECORDING MARCH 2010

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Recording - March 2010

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