15 Mistakes That Can RUIN Your Studio Recording Sessions
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- Опубліковано 20 тра 2024
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I'm no big-time producer, but I've tracked enough singles and albums with locals to know what brings down a session and what keeps things on pace. This is, in my opinion, a brief exploration of some of the pitfalls that live performers may not be aware of until they get into the studio. Hopefully, by reviewing this list, you'll be better prepared for your own studio sessions, either as a player or producer!
A few notes-
When double tracking guitars, there is sometimes a good reason to NOT do the identical part. This is to create interest and variance in the stereo field. However, these elements are usually crafted with intention, not just randomly thrown in. Although the accidental mistake in a double-track can sometimes result in some very cool effects, the skill of accurately recreating your playing is one that is pretty much required as a modern day rock guitarist looking to record.
In my examples on bass, you won't hear ANYTHING if you're just listening through your phone/tablet! Also, my example of arrangement isn't the best, mixing it in a way that allows you to hear it and also not hear it at the same time was difficult. A good concrete example would be the bass part in Metropolis Pt 1 by Dream Theater, which has a bass-tapping section that is nearly inaudible and therefore I transcribed incorrectly in my video on the song. The producer himself for that album complained often about the young and inexperienced band's ability to properly arrange parts (and Mike Portnoy's dynamics!) so it's not just a personal gripe.
Thanks to my Patreon supporters for sponsoring these vids :) I don't do often do advice-style videos but this one I do think can save people a lot of time, energy, and money. www.patreon.com/signalsmusicstudio
Table of Contents:
00:00 Intro
00:42 General Advice for ALL Musicians
04:26 Advice for Guitarists
07:03 Advice for Bassists
09:03 Advice for Drummers
10:12 Advice for Vocalists
12:24 Advice for Key Players
![How To Produce PITCH PERFECT Acapella (when you're bad at singing) [Vocal Production + Mixing]](http://i.ytimg.com/vi/EC_Fvs3TEj4/mqdefault.jpg)
![How To Produce PITCH PERFECT Acapella (when you're bad at singing) [Vocal Production + Mixing]](/img/tr.png)
![Motifs and Chords- The Fast and Easy Way to Make Music! [SONGWRITNG - MUSIC THEORY - LESSON]]](http://i.ytimg.com/vi/z3Dy6Mnp5Og/mqdefault.jpg)
![These 2 Indian Rhythm Exercises Will Destroy You [ADVANCED RHYTHM THEORY + KONNAKOL]](/img/n.gif)
Keep in mind, there are exceptions to EVERY rule! I can find you specific cases where I would want every rule here broken, but generally, I think these suggestions are all good practice
Thank you so so much. I've been working on mainly guitar, but I also want to be able to compose entire songs for several instruments. I would love a series in the vein of this one; one that's focused on tips and tricks to help make recordings sound better. Even common effects I find daunting to try and use 'correctly'. For example I only just found out from one of your videos to try using wah with distortion. I say this without a hint of sarcasm, you are the greatest music teacher on UA-cam.
One sort of cheat I would add to the list for drummers is to record a demo at home and bring it to the session. That way the drummer can play along to the music instead of just the click. Our drummer has this problem where he listens to the other members instead of knowing the parts himself, so he needs something to play to while recording. His playing is great so I am willing to overlook the extra effort needed. An additional bonus is that recording a demo forces you to compose everything before hand.
Good addition! (I hate it when advice comes in the form of ABSOLUTE dos and don'ts. You balance that in a good way!)
I have a thought (more than a suggestion, as I'm not really a musician, and have no experience as a producer), but wouldn't it be a good practice for a band to make their own low level recording and mixing before they go to the studio for the first time, just to weed out the worst problems? You could record everything on a phone, and use a free or cheap program for editing. It will probably not sound very good, but I would think it was a great way to prepare.
@@egilsandnes9637 Oh yes. Every bit of preproduction you do helps. The basic idea is have your songs done in as much detail as possible 🙂 That way, you walk into the studio just to capture the takes with no time wasted. My band went way overboard in that we demoed our songs to such high levels that we just mixed and released the demos themselves 😂
one of these days imma actually come up and visit you since were both chicagoland area. i wouldnt wanna drive that far for lessons or practices. but knowing your level of professionalism, skill, and knowledge i feel itd be worth it
I'd forgotten you were a music studio, because you do so many great videos about non-recording lessons.
@@tpioh_ it must be funny to be around you..
@@tpioh_ you ARE easy??? Scientists should really look into that. Thats crazy. That a human being can be easy, and not like, easy to be around or easy to get along with. Nonono this person IS easy. wow.
@@tpioh_ lmao, no hard feelings man :)
lmao
no, I'm not laughing at you, Simon
To be honest, I don't think he runs a studio in a traditional sense. More of a bedroom studio guy.
I would add, dress comfortably. The studio isn’t a fashion show, you’re going to be playing your parts over and over, getting sweaty, and sitting for long periods of time.
showers are unnecessary...
@Luke I play naked. Call me Flea influenced.
Sweaty? How out of shape are you? 😝
Y’all have obviously never spent 3 days straight recording an extreme metal band.
@@arayapokey Ah. Metal. Nuff said
I feel like this video was part advice for us, part therapy session for Jake - he seemed to have a lot to get off his chest!
I did make this video partially for my own convenience, so I can send it to anyone I work with ahead of time, and then they'll know how to avoid my uncontrollable rage
@@SignalsMusicStudio is that what the clown suit is???? the rage inside?????
Jake, if you're going to lose your s#!♧, please do us a favor and record it for one of your amazing intros.
@@SignalsMusicStudio Mr Fricker is a great youtuber, but I don't think we need Jake to turn purple while screaming at a microphone :)
I know. I feel like he was pointing at me lol.
"Make sure everything is written".
Rob Scallon and Andrew Huang: i'm gonna pretend I didn't see that
First of October reference!
I was just about to write this :D
Lol but they are Rob Scallon and Andrew Huang. For us mortals we have to work at it 😬😬
I think they're both past the point of needing to take advice from me on the studio :)
@@Timliu92 rob is only a youtuber
Playing alone, with a band, live and in the studio are 4 extremely different things.
My first advice to any new musician is to get the cheapest mic, interface, DAW and headset. Set up a click, hit that record button and look at what happened (timing, dynamics...). These 100 bucks will change your life and make you a much better musician much faster.
Recording yourself is def the fastest way to correct your mistakes. You might feel like you are nailing something but when you roll that tape back you'll find out pretty quickly how true that is
I did just that when I was young and it made me so much better as a musician.
If only the prices were the same 15 years ago, that would have saved me a lot of struggle.
@@SchwartzerAdler One thing to be happy about the modern day :)
Absolutely agree! And record and play with a metronome straight away. I know this sounds like a no brainer, but there is a considerable amount of guitar and bass players who just don't do that, hence they struggle when playing with a full band as obviously the tempo is different.
"They're not singing harmonies, they're singing disasters"
Lol
Sounds like a queen song
naaah, more like an emo song
So true
That’s my acapella band name! “Singing Disasters”
@@timeswehadwewonthaveagain6980 Hahah, right?
...the bonus irony of course being the mastery Queen have always shown over vocal harmony.
:,)
"Red button syndrome" is a real problem for me (i.e. tensing up as soon as you hit record). A neat trick my buddy does is to tell me to do a couple of practice runs (whilst secretly recording it). This gives a much more natural take. Unfortunately, I've got wise to this though so we end up playing call my bluff half the time, but it can work!
Same here. It's real!
I started recording my practice sessions so I could get used to playing while being recorded - the whole "practice how you'll play" idea. I usually delete them within the day so no one else has to be subjected to them...
@@profvonshredder2563 One of the clear symptoms for me with 🔴 syndrome is sweaty hands. Then the tense hands start kicking in. And then finally I get to a dark place where I don't understand what tempo is.
@Luke I find beer helps (to a point)!
yep. recorded a guitarist who would slowly unlearn how to play each take. i secretly recorded practice takes and then cut n pasted n didnt tell him. gotta pump their ego up to.🍻
That bit about guitar sound is HUGE. Guitarists always want to use the solo sound they're used to, but don't understand what kind of guitar sounds mixes best in a full band context.
Occasionally, a guitarist comes in who actually understands tone as it regards to a full mix, but they're often ones with home studios!
The more overdubs of rhythm track you do, the less gain you need. Otherwise it quickly turns into pure fizz
One technique I use is to simply split the guitar signal, sending one to their amp and effects of choice, then another to the DAW as a raw signal for later re-amping.
@@James-eg3nf this is the pro move. pleases the guitarist, lets you capture the actual amp tone, and also enables you to totally replace it if need be, or just blend in another amp tone for color
@@SignalsMusicStudio especially with the tone color. I didn't realize how much I liked the sound of blending amps and cabs together until I started recording myself playing. For me, I like taking amps that are kinda opposites of each other and splitting them left/right for my guitar parts (like an Orange Twin Terror and a Mesa Boogie Dual Rectifier), it really fills out the mid range well while still leaving space for other mid range parts like vocals.
I remember recording with a sort of "nu metal" alt rock band in the early 2000s, and the producer had our drummer go first. However, before we got started, the drummer mentioned that what he listens to most when we would practice was what our bassist was doing, so our bassist did a scratch track first, then we recorded the drums, followed by the bass going back over with much cleaner playing... I also sang in a Power Metal band in the mid-2000s, and my brother was the drummer. He just wrote all his parts out in GuitarPro beforehand, and then played along with the MIDI track, since some of the timing and tempo changes would've been tough to program into a metronome, but literally the touch of a button in GP. Lots of different ways to assist people to feel more confident playing to a click... still, nothing works better than just practicing with a metronome on your own
To get sessions running smoothly, I usually run a click track through to the drummer, and put him in the same room as the bassist/guitar. I record the drums + guitar but the guitar is usually just a scratch track and is really just there to help the drummer get through the song. A good producer will know exactly how to get the session running smoothly depending on who they're working with, but good session players usually make that role way easier and less time consuming
I recorded a couple of songs with my band back in 2015/2016. I had to beg guitarist to record a scratch track at home for me so I can take it with me for my drum session to speed up everything. He recorded one but couldn't be bothered with the second song. At the studio, the chap that recorded us wouldn't let me play the whole track but stop me after each section because he recorded that way before and it worked the best for him. That completely didn't work for me. So it's not always the "unprepared musician". ;P
@Luke it has never happened in my studio but I have done it myself. Actually that’s probably WHY it’s never happened in my studio haha
I had a drummer who would transcribe everything we wrote into notation and he was flawless in the studio. Ill also add memorizing lyrics is important but often you are going line by line and adding layers so having everything typed and placed on a music stand slightly infront and above can be very useful.
It can help to have the vocal lines on synths or something to help you find your place in the harmony also
Same, he was also the best drummer I've ever heard to this day. Occasionally he even composed a whole song on his own, and it was always good when he brought it to the table.
similarly to having paper printouts, at my home I use a bigscreen TV as second monitor and can push lyrics, notes, tabs or even my whole daw to a big screen anyone in the room can look at. spare tablets can also hold a similar function
This is seriously one of the best videos I've ever watched. I apologize if this seems like sensationalism or an overstatement but in 14 minutes you cover so much ground, brilliantly articulate so many facets of the recording process, and zero in on the fundamental dos and don'ts. I've been on all sides of this: I've been the unprepared musician, I've been the prepared musician, and I've produced many sessions where I've encountered all of these issues. If you're a new band heading into the studio Jake has just saved you several thousand bucks...if you listen to him. So well done Jake. Thanks! -Mark
For years I was in a band that toured and recorded. Every time we went into the studio I had a whole binder that I generated that was not only notation transcriptions of parts I had spent a year improvising in the live context, but also I usually had a transcription of all the harmony vox parts, even though that wasn't technically my job. I also had all the chord charts, even though I was "just" the fiddler. I always had the full lyric sheet for every song, even though I was not the singer. And I usually had various notes about key moments (Drummer, watch that break after 2nd chorus that we worked on, for ex...) because I was always the most OCD person in the room. 😆. I have a bookshelf full of binders from various studio projects.
Solid advice all around, and these are all tips that I've learned from 10 years of recording albums with my band.
I've got some additional advice for guitarists: please, please, please check your tuning before you start recordings. I can't tell you how many times we nailed a take in the studio but had to throw it out because the guitar was out of tune.
Vocalists: know your limits. When you record take after take of the same song, fatigue can start to set in, which will ruin your takes. I would recommend no more than 2 hours of singing before taking a break for several hours to give your voice a chance to rest.
tuning and intonation for sure, I am amazed at how often out of tune, badly intonated guitars get tracked.
@@lastdaysguitar yep. We had to redo a few takes in the studio due to bad guitar intonation. It's not something that can be fixed with pitch correction, nor would you want to even if you could.
A producer who just 'sits back and hits record' is not producer. The key role of a producer is to take you from wherever you are to a higher level. So, producers for major talent have a major challenge.
Yeah because "major talent" means you look good and may be able to sell records, the music and talent part is optional
@YoStefan specifically mainstream mumble rap
I have to disagree Sort of, Is like the "the bad teacher" Situation
Spot on!
Can I add one more tip?
Singers: do not try to sing outside your range! If you can't hit that high note, then sing something else.
They can pitch correct it. If the note is right for the song, sing it. People can expand their range a little bit if they actually practice.
@@buttplug2162 True, but so often that means several takes to get it right. Then, the band hits the road, and those songs fall flat at gigs.
I'd add a few things. 1.) a producer, recording engineer, mix engineer, and mastering engineer are different roles. Some people might play multiple roles (especially in the budget scenarios), but if your producer just records you they are not really a producer only a recording engineer. Learn the different stages of the recording process and the roles that go with them. The pre-meeting is good to figure what role the person you're hiring is playing. 2.) before going into the studio, agree how decisions will be made ahead of time. Is it by majority vote, is there a band leader, is it whatever the producer says, etc. 3.) agree ahead of time how credit is going to be given for writing/producing, etc. 4.) Make sure your instruments are in good working condition or borrow/rent ones that are. Get your guitar set up, put new heads on your drums, etc. Bring extra sticks, heads, and strings with you to the studio. 5.) have clear recording goals in mind before going in. Are you using all of your budgeted time to make one song really great or are you using it to bang out as many songs as possible?
Excellent. Point 4) in particular can be such a time waster...
@@ThomsenTower Yeah, especially if you're recording late at night when the music store is closed!
Some very solid guidelines detailed here! I particularly appreciated the bit regarding the importance of firmly establishing everyone's roles respective to their involvement in the project/session(s). If something that crucial manages to get overlooked, then it's guaranteed that toes will most definitely be stepped on! I clearly recall during the tail-end of the audio engineering education I was enrolled in, as we were being instructed on the "do's" and "dont's" to put on a resume, and what qualifies as an immediate red flag to potential employers notice a person describing themselves as a 'producer', or has claims that they've 'produced x amount of tracks', regardless if there's any truth to it! It's pretty much a wrap! Fact is, that label has developed such a relatively negative connotation over the years, especially within the audio industry! For those few lucky engineers who have had, or still have, the luxury of working on a traditionally large, analog console (to tape), ask them to demonstrate how to configure the desk into "Producer Mode" lol and you'll learn firsthand what I'm saying! It certainly doesn't help matters given how the term 'producer' is so frivolously tossed around by one too many douche-canoe's, but I digress lol!
3 is very important.
I have heard that 4 happens quite a bit, think it was Rick Rubin saying that.
You should do a video called advice for producers next. As an amateur home studio producer I would love to see that.
#1 rule Buy insurance, a garbage can and, a steamcleaner!
#2 rule if it sends you to federal prison it's baned
#3 rule Must at least wear underwear!
#4 rule wash your ass and brush your teeth!
The chap in the video has a home/bedroom studio himself. He is a UA-camr more than anything.
The tone thing was a big problem for my guitarist to overcome. I always told him he couldn't just download famous players' presets and tell me to work with them. They sounded good but he didn't understand the nuances of tone, like using a modern metal tone in a classic rock influenced song. He was quite reluctant to give me DI tracks because he didn't want me to "mess" with his tone, but once he heard a finished mix, he was convinced to leave it to me. I run everything by him and nothing is released without his approval, but at the same time, I spend so much time messing around with tones by myself that I can do things he'd never think of. On one of his solos, I actually put on a vinyl record effect that he ended up loving. That's just one example. Now the next thing is to convince my drummer to back off a bit and trust me as well.
That's funny. Loved how you ended that. Still laughing...😄
"Even if your playing a grunge song and its supposed to sound like garbage...." 😂😂😂
That makes laugh so loud my neighbors came to ask if everything was ok hahahahah
Jake needs to be careful or he'll have Beato around whupping his ass with his goddamn book.
That is true, because nirvana does sound like garbage
Butch Vig, Shirley Manson, etc resemble this remark.
@@timeswehadwewonthaveagain6980 First of all, I'm almost positive, that Butch Vig mixed Nirvana's first album, Butch Vig ( From the band Garbage )
As a bassist I’ve been totally guilty of these points. Not truly hearing the drum parts until I heard the recorded drums. Poor muting making me sound terrible. The embarrassment was a useful lesson to up my approach and technique. Great advice!
Beato said that he would put tape on the strings of bass players who had this problem. It was either that, or him playing the part for them.
@@randolphgallagher7942 Beato also takes a swinging Bonzo groove and quantizes it to death, coming to the conclusion that click tracks and quantization are the reason why modern music (allegedly) sounds bad
Another problem I've seen in a lot of bass players is very poor finger economy. You have to sit down and think which is the optimal finger you should use to play each note, so you don't end up running out of fingers and doing awkward jumps that kill the bottom end the bass is supposed to give
Beato said that he would often mute the strings for the bassist while recording. I.e. he would stand there and touch the strings that they weren't playing.
I play upright most of the time and that made my electric playing much cleaner. Not muting properly on an acoustic upright is an obvious disaster, you kind of anticipate the desired end of the note and mute a bit earlier to let the resonances die out.
Advice to keys players, avoid stepping on the bassist’s spectrum of frequencies, to avoid drowning each other out
Keyboard players are usually formally trained, so they know what's voice leading. Unlike everybody else in the band. I'm a rare breed of a bass player who's formally trained as a tuba player, but most of us bassists barely know a thing about music theory.
That’s a really good tip. I’ve been playing keys for 50 years and I didn’t really take that to heart until I starting kicking left hand bass in a band 5 or 6 years ago. Now that I am the bass player as well, it makes perfect sense to me. I want the bass part to stand out and my left hand piano parts were in the way.
@@kappyLV That is fascinating how taking on the roll of bassist as a keyboardist made you aware of that! Cool. Kudos to you! I always appreciate that ability some keyboardists have to play two distinctive roles. I have a friend who is both they keyboardist and bassist in her band
@@MtlRedAtheist, thanks for the kudos, but it was always something I said I couldn’t do. Then I was put into the situation where there just weren’t any bass players in the area where I live. 2 years of grinding it out and I started to get the hang of it. I still struggle with playing independent parts, but at 65, I’m really enjoying the challenge. It would be a lot easier if I wasn’t also a singer!
You know that joke, "how many bass players does it take to change a light bulb? None, the keyboard player can do it with his left hand"
Such a great video, thanks Jake. Don't ever stop doing what ya do!
This is great advice if you’re working in your home studio too. Scheduling and separating the different production phases really helps focus on completing the project. Thanks, Jake! Also, I like your sweatshirt!
I would love more videos about studios (part 2?) or possibly home studio set ups for recording
I've never been so proud to be a keyboard player! But honestly you're right, we all did take piano lessons and there can be a big disconnect between us and people who never had formal study.
Just excellent Jake, great video all the points are the essentials and everything someone needs to know before a session!
I really enjoyed listening to you telling about your studio expiriences and getting emotional about it :) Would love to see more videos about this subject.
First time YT algorithm did something right for me. My band and I have a studio session booked for next month and I just sent this to all of our members because it's such useful advice. We were somewhat aware of the points you're making, but you really drive them home. Now I wish we had more time to prepare... :D
This channel is a blessing. Thank you so much.
Your videos are awesome! Information is always useful succinct and straight to the point.
Man recording used to suck the confidence out of my playing, was way too used to freestyling
What's Man Recording?
@@HarlanHarvey76 Message sponsored by
Let's eat grandma: commas save lives.
There's a difference between a producer and a tracking engineer. Producers help perfect the music whereas the tracking engineer is the guy you just presses record. The guys who call themselves producers and just press record are a sham.
Audio engineers still have to setup all the routing/patching, choose proper mic placement and what mic's have to be used, make sure sound is isolated, know how to use the DAW, and know what how to use all the essential plug ins that to make sure each track sounds the best it can (compression, limiters, EQ, etc.) which are essential for each track to stand out but also sound good in the mix. Producers I think play a larger role into the overall sound and arrangement of the track. Producers also should be able to give direction to the musicians on how to get a better performance. Both are essential I feel. At least that's what I remember from school, though it was years ago.
What a numb comment, Russ. Jesus Christ.
"engineer is the guy who just press record"
jeez man.
If anyone calls themselves a producer they should have some real credentials...ive heard many "producers" who try to make every band sound like they think you should or someone else. A real producer let's the band have their own sound, as it should be...and not manipulate the instruments to sound like led zeppelin every fucking song. This is a common problem with soundmen and producers who want you to sound like their favorite band or musician. Van Halen for example wouldn't think of having a sound engineer tell them how Eddie's guitar should sound. I could go on and on about this but you should have the idea.
When I hear the title "producer", I always think of George Martin. He has a lot of the honor for how nice the music of The Beatles is. He offered his ideas, helped shape the sound, came up with parts and even played instruments on some of the tracks.
#8 Arranging bass parts. I used to play in the band with bassist like that. He would create really complex bass parts for simple songs and riffs cause it's boring to play root notes.
When we went into studio and recorded few songs all his "amazing licks" got buried under guitars and kick drum. And there are even parts where all the drive that bass guitar gives to a song is gone cause he would insist on playing some fancy stuff instead of supporting the groove.
I feel like there's a corollary to this though - if the fancy bassline ~is~ important, it should be prioritised in the mix. Jake's example is where the bass needs to get out of the way of the guitars, but there are some songs and bands where really the guitar (no!!!) needs to take a back seat sometimes (nooooooooo!!!!)
You can mix to highlight certain moments too (like you could make those harmonics stand out if they add a bit of chef kiss to the song) but it's probably worth balancing that against the arrangement - if the song isn't actually written to make space for those sounds (so they'd be lost or muddy played live) then adding it to the recording is kinda more like a sound effect. Which isn't necessarily bad, noises are cool! But y'know
Pan hard left or right, bass or guitars, for that separation...
The hardest part about being a bassist is constantly playing far below your level because most bands only need simple stuff
@@st.fiacre6685 keeping bass centered is a good rule of thumb tho
I started learning guitar so I could record backing tracks for my basslines. Now I just play simple basslines...
Jake as always spot on. I may need to show this video to some of my "customers" :) Sort of like having kids that won't take your advice until they hear their friends parents saying the same things. Now you can take a deep breath after saying all the things that need to be said. Thanks.
Best music-related channel, hands down; clear, well-thought out and pragmatic advice, be it musical theory or studio knowledge. Bravo
This video is absolute gold. As a professional producer/composer you’re spot on on the big issues. Id be happy to see some more producing heavy videos. Thank you!
That advice about writing your stuff out first is probably going to save me for years to come lol. I really thought it was all about getting inspired in the studio since I’ve only been at this music thing for a year. Always got frustrated that nothing was coming to me until I realized I spent the last year learning to produce, not write songs. Thank you so much man! Always a huge help.
Great video as always Jake! I’ve a question... Receny I was watching your riffing with modes series, and felt so inspired to create songs. Here’s the thing though - I can only play a guitar and don’t have other instruments. It would be great if you could show us some free/cheap programs like the one you used to create bass, drums, piano etc, how to navigate through them, it so we’d no longer only be creating guitar parts of the songs but entire thing. Maybe make a whole (mini) series of it?
Very insightful. I knew some of this but you didn't make it seem redundant. Thank you. Great presentation of concepts. I'm impressed. You have a new subscriber sir.
11:23 reminds of the song "I sing disasters not harmonies" by the band Tragic! at the Studio.
It depends on the music, recording style and band type. A fully improvised breathing performance is perfect for some genres.
But sure for more commercial music I guess it's important with rules, grids, arrangement and integrity.
Either way, yes recording in a studio can be challenging
All that “breathing performance” bullshit is the kind of thing amateurs love to say to excuse their awful playing skills. Any professional musician in any genre can record to a click without sounding “breathless” because there's basically nobody who can play every note exactly as the click goes. The “breath” of music is dynamics and technique in general, not any of that esoteric bullshit your friends and fancy magazines feed you with.
I really enjoy your show! It's entertaining, you have some good stuff to share and it's just.. good!
Thanks so much for the consistently great advice. There are a few things here I should take more notice of.
can we get a video on vocal harmonies?
When it comes to keyboard players (in a band context) the one thing I would say is tell them not to play in the low register because it creates a muddy or will simply be high passed to allow for the bass guitar.
This is so true...I love playing octaves and such, otherwise my LH gets bored and starts moving south. If I'm playing with a bassist, the index finger is about all I use in my LH.
I've been trying to teach myself to record and produce my music and I had to learn these things the hard way. Great video!
This is an awesome video. I started home recording about three and half years ago and have learned (often the hard way) that every one of these tips is true. Subscribed!!
My no.1 tip for a studio session is prepare food in advance, recording is hard work and you have to keep the energy up and feel good.
You don't want to be stuck in an unknown area where there is no decent food available. I have been in a recording studio that was in an industrial estate, they could only record in the evenings because of traffic noise etc.
Bahahah nothing like being hungry and trying to be creative. Hunger can mess up the flow
great video! But where did you get the hoodie? i absolutely love it
Yesssss
It' precious! Precious! I must haves its! Has its now!
This video will be required viewing for any future guests BEFORE the visit. Great information. Thank you for putting it all in this very neat accessible package!
Great info. Thank you and Thank your patrions!!
Some very sound advice here (pun intended heh). One gripe though: that "bigger picture" that producers always seem to have sometimes is confined by very concrete ideas about how something "is supposed to sound" and then suddenly you have something that sounds so much like the next band out there, because producers also copy one another and they see what the next guy does and the end up sounding similarly. Also, producers are people who -like every professional- want to streamline their workflow by having ready-made solutions for many problems and this sometimes creates copy-paste results in the sound too.
"They're singing disasters" ... I laughed out loud. Pretty much sums up my *main* vocals ...
World class video lesson!!! Thank you!!!🙏🏾🙏🏾🙏🏾
Thanks bruhhh...
Your always a cool breath in a scene full of hot air!
"Even if your playing a grunge song and its supposed to sound like garbage..." LOL,!
"Memorize your lyrics, it's a professional environment."
"They're not singing harmonies, they're singing disasters."
Now, don't hold back Jake. :) Seriously, great video but there were some laughs here that I am sure that were born of frustrating experiences.
I think the first one was a reference to the band Garbage.
@dezessete True. I like Garbage too, knew them in Rock Band 1.
Everybody shits on rythm guitarist until they go to a recording studio. His/her tempo and tone quality will make or break the song !
Damn!! So useful!❤️Thanks for the complete check list on what to do and what not in a studio!!❤️
Great video! Very informative.
Do you use any software to record your drums parts? I recently stumbled upon Superior drummer 3 and it sounds just like the real thing
This video was great, Jake. I highly recommend EVERYONE that wants to record just spend a little money on recording hardware and software and record yourself. Then, you will be prepared to actually spend real money on producers
lots of folks have home studios, that really need some talent too!! try finding the guys who want to do it free, so everyone learns, then go and pay for some time...
Spot on.
I'm 70, have been performing for 50+ years with great responses. I suck in a studio... So, I'm putting a home studio on the cheap.... gotta start somewhere.
On stage, my balls are HUGE. In the studio, I get "studio fright," turn into a wimp.... "Those machines are staring at me!"
I'm beginning a "simple" recording project, Audacity and a computer....
Yes, consistency is key... it took me all day to get one song down. I did the bass and harmonica on separate tracks.... What a learning experience.
But I've also seen studio rats fail miserably on stage.
Bass... I always approach electric bass like its an upright with no sustain. I mute. Bass is a percussion instrument... and I think that way when I get a bass gig. Having a supportive attitude is key... most music does not need a shredder on bass.
Memorizing lyrics are a MUST for me... even live. Having the crutch of a lyric cheat sheet is fine in the studio... but live, it sucks the life out of the music... and it's also multi-tasking... which detracts from the live energy.
Thanks for this. I needed to hear/see this vid.
can i just recommend to you to try out other DAWs such as FL Studio or Ableton? I worked with Audacity for a while and let me tell you it is a world of a difference in production quality as well as flexibility switching to FL Studio
@@iamdeafboi.9921 Thanks for the tip... I'm a recording noob... I'll need as much advice as I can get.
I still want to whack Audacity around for a while... at least finish the one project I started... It is teaching me terminology and techniques...
I don't have much recording gear. My expectations are not high with this project. It is basically an audio sketch for the songwriter... and it will be good for prep come time to take it to a real studio. I'll be ready and prepared. The project is funded by the songwriter who requested my participation. He can afford almost any studio. He will also pay me well... and I'll be able to afford the gear I'll need... including acoustic treatment of the studio.
I've spent much time in the studio but still found this very informative! Will have to share with the band
I can't unsee that Fender squeezing the midi controler in the lower right corner 😂. Loved the video and shared it.
Our mistake was we rehearsed 6 songs to record, and in the end we rushed and recorded barely 3, because sound in a garage and in a studio is SO different, we felt like we played together for the first time...
Four hours of frustration, which led to anger and total paralysis.
So, the conclusion is: get ready with a minimum of songs you can REALLY play automatically, without a back though or doubt.
Your problem was that you were expecting to record 6 songs in 4 hours my friend. Get ready with the songs is a must indeed. But be patient. It never works in 2 or 3 takes. I remember with my band to have more than 300 takes on particular sections, just because they weren't sounding right and we wanted the best we could
@@pedrosilvamusician we didn't play technical death to have over 9000 takes on one song. but I lack patience indeed.
@@teacherfromthejungles6671 It doesnt matter. Could be a 3 chord song. One needs patience :)
@@pedrosilvamusician can't agree more.
@@pedrosilvamusician > It never works in 2 or 3 takes
It actually works when you really know your shit. If you need more than 10 takes to finish a song and can't push out a whole take of the song from start to end, you're unprepared, and you don't belong in the studio at all. Even as a spectator.
The stuff about vocal harmony is so true. I don’t care who you are they’re tricky as hell and you must write them before you go in especially if you really want to add a lot of them
Unless you are Jacob Collier
This is excellent advice. While I've never recorded a professional album under contract I have recorded some very good demo albums in a studio with a producer. I was lucky in that the producer was a member of the band (I was in several bands with this friend) and I was able to learn how to get in the right mindset. We rehearsed at his home studio, more a rehearsal space, but recorded in a professional studio, which helped make these demos sound very good. My friend knew a lot about recording and mixing, mic placement, etc. One thing I learned was to trust the producer, especially if you know nothing about producing. We were always prepared because we had to know exactly what we wanted before hand and know how to communicate because it was costing us money. I also learned, as a guitar player, how to act in a studio. I had to trust that the sound I thought I wanted was not always the sound that was needed. I had my amp cranked up with way too much distortion and my produver/friend/bandmate/drummer showed me how bad it sounded and why we needed a lot less distortion and double tracking or quadruple tracking. The more tracking the more clarity you need. Tracking is all about building body and texture. Solos were about the last thing I laid down. We also had to think about what we could replicate live. I don't think you have to be able to replicate everything, but I'd say about 95 percent of what's on the album should be repeatable live. I think these studio experiences helped me become a much better, more mature player. I thought of these demo albums as being the foundation for our tours, which really just meant playing around little clubs or even restaurants and parties or festivals. But to us it was a big deal, and one of the best experience of my life in the mid 80s to early 90s. I don't have any of the demos now, but I was very proud of them. They sounded good. They presented our music to the world in the best way we could at the time. I also discovered that I loved working in the studio as much as playing live. It felt like building something. We were building music. I loved it.
Waiting for this channel to go very big... (i mean millions and millions subscribers)
This guy is amazing at teaching..
Best of luck man..
Me: *Plays 50 shows a year perfectly to a click*
Me in studio: oh god why did I write that drum fill
lol sitting on my couch playing guitar I play that progression perfectly, spring up from my repose and off into my "studio" to records it..... 20 minutes later I still dont have a perfect take...
To balance that are the takes where it wasn't "perfect," it was actually better than that.
@@OgamiItto70 no it still suked cause my guitar playing does also
@@xisotopex Keep on keepin' on, then, I guess.
Maybe you think you played perfect in the couch only to discover you weren't^^
@@lumix1640 performance anxiety
Jake, I absolutely love your channel. Your teaching style is perfect for me, and you have a knack for breaking down otherwise difficult to understand concepts in a clear and concise manner, making them much easier to digest.
First, I wholeheartedly agree with 99% of your advice here, and I understand that you have left room for breaking the rules. However, I do have one small issue with one specific statement in this particular video.
You stated something similar to “You don’t want your producer writing your music for you.” I would agree with you in the context of an experienced band with at least one or two members who have a really good musical foundation.
Unfortunately, many of the “artists” and bands that I have encountered, specifically need (and even want) a producer to help guide them to better musicality. This can include everything from modifying arrangements to altering chord progressions or even tonal centers to overcome unintended dissonance introduced by vocals or lead line that clash due to a knowledge deficiency in basic music theory.
When I was a young, inexperience, singer-songwriter in the mid ‘90s, I was fortunate enough to work with a producer who helped me improve no only my recordings but ultimately my songwriting.
My main point is that sometimes you do want a producer at least helping to write (or improve) your music. At the end of the day it’s all about expectations. You should not expect a producer to help you without first communicating the expectation. It’s also important to find a producer who understands and compliments you.
Again, I love and appreciate your channel more than you could possibly know, and I look forward to your rhythm guitar course with baited breath! Thanks!
This is an awesome video. Very informative and really helpful! :)
I can think of one obvious exception to a few of these rules - where the band and producer are actively looking to recreate the band's live sound. Speeding up during a track is not an unforgivable crime - especially during choruses. So, forget the click track and get a producer or engineer who can tempo map the performance in their DAW - if they're obsessed with working on the grid. Use your amp sound but record it well with mics and DI for flexibility. And drummers you don't have to record tracks on your own with just a click for company. If you want your bassist and/or rhythm guitarist to record with you to help with groove and feel then ask for it. If you're paying, you will want to save time, but demanding that band members do a list of things with which they're uncomfortable, just to make the engineer and producers life easier is not the point of recording. Getting and capturing a great performance is the point of recording and if your music's strength is derived from extreme use of the band's sonic dynamics then you want this to be on the recording. If your lead singer performs so much better holding the microphone then ask to record using a dynamic microphone. The people behind the desk are working for you and not the other way round. So do communicate with them prior to getting into the studio about gear etc and most importantly your intentions for the band sound you want for the recording.
agree! making musicians comfortable in the studio is huge part of being a good producer imo, and being able to set things up in a way that is easy for them. as a player though you can't always rely on having a good producer :P
i agree even musicians get bullied so use ur big boy voice
Lol if My band rushed the choruses I would be hiring a new band
@@khbgkh A slightly increase in speed in choruses adds excitement. In pre-digital recordings it happened all the time.
@@khbgkh A slight increase in the speed of the chorus adds energy and excitement. It happened all the time in pre-digital recordings. For example there are many subtle speed changes in Queen's Bohemian Rhapsody - around 10 bpm from the slowest to fastest part - but Freddie Mercury didn't fire the band.
i'm surprised no one mentioned drugs alcohol and family and friends distractors to the final product, i would think
Just like how everything else in life lol
I leave the family at home lolololo
NO YOKOS!
That sign should be at every studio.
This video explains EXACTLY what I've been trying to tell my band. I'm subscribing and showing this to both my bands!
Very useful, informative; and very true.
Thank you.
Holy crap your voice is liquid gold
Listening to this whilst our vocalist is writing vocal harmonies in their room lol
Also when we had a keyboardist she was the weakest link xD
My advice is stay hydrated and have some bananas & snacks to keep energy up. Recording is more physical than you might think... Bananas to prevent cramps (potassium). As a bassist if I know I have a busy part, I also try to make sure I have a groove and also a straight root notes tucked away and present the options. Be prepared to kill your darlings, let them go ;p
Hey Jake, these are fantastic points you're making here. Since most people are just simply recording at home with an interface these days could you make a video more specifically about tips to make a great recording at home... whether it be performance tips, editing, what to avoid...
I feel like the relaxed nature of being at home can lead to some corner cutting.
I agree with everything you say! I am mostly a solo studio musician and a songwriter but I also do semi-pro recordings for other groups and friends . It’s pretty easy for me (and other musicians) to come up with a song and do a scratch recording in a few hours, but it can take many days or even weeks to fully complete a polished studio-quality recording. The biggest time wasters are 1) Completing the lyrics 2) Getting a good guitar or bass tone (micing cabs, effects). I admit I’m resistant to VST and much prefer the tone of a real cab but I realize no cares in the context of the final mix 3) Coming up with the drum and bass parts that make sense for the song as opposed to being flashy and impressive. 4) Recording tracks accurately and doing many re-takes 5) Mixing and mastering, and 6) As you mentioned - writing vocal harmonies! This is surprisingly difficult, even for someone with a ton of experience.
So yes, recording in a studio is a ton of work, so my advice would be to treat it like a job.
Rule number 2 _ NO exceptions ___ PROPER TUNING of the instruments. This includes drums . Don’t bring your “ coolest “ or even your favorite instrument to the studio , nobody SEES the instrument on a CD or on Spotify, they only HEAR it . Bring the ugly , great sounding instrument that STAYS IN TUNE to the studio . That’s rule number 2 . NO EXCEPTIONS . Rule number 2 mentioned in this clip is dead on , though it’s actually rule number 3 .
I remember reading that Brian Eno used a markerboard during the Achtung Baby sessions. Understandable since it is such a detailed album, plus the band was doing things they'd never done before. And can you imagine how much Prince had planned out before recording? Granted, he had carte blanche at whatever studio he worked in, plus of course his own. But he surely knew the value of studio time.
Oh, and then there's Sgt. Pepper and Dark Side Of The Moon...
I like how Ringo calls Sgt Pepper "The one where I learned how to play chess".
I was sitting in St. Charles IL watching this as I prepare to figure out my path for my next album and thought to myself, “man, this guy seems like a perfect match as a producer for my solo stuff where I perform everything”, so I google you guys and low and behold your line 30 mins from me. 😊 I will be contacting you guys within the next few months.
Geez mate, almost 500,000 subs?! I think I came onboard at about 1000. Well done!!
"Write your vocal harmonies."
Tell me about it. Some singers have good voices and can definitely sing well but do not have a natural flair for harmonies. If that is the case, the vocal director has to create for them a guide track or MIDI file for their reference to ease the recording process.
Singers who don’t play an instrument (im not talking about performing) are big liabilities when it comes to this stuff
@@colinedmunds2238 I see where you are coming from, but to me it depends though. From my experience, singers who did not play an instrument but sung in choirs before often do not have many problems with regards to this, because they were so used to vocal harmonies that to them this is just another day in the office and nothing too fancy.
Preparation is the key to most things to achieve success.
Very interesting and all useful and valid suggestions! Thanks for sharing :)
Love your explanations! Thanks.
Speaking of double tracking, how do you treat harmonies and solos?
Do you double track each part of the harmony or do you single track them each?
I think generally each rhythm guitar track is doubled. But the panning isn't just hard left and hard right. It's more 100%/70%
Solis are pretty rarely doubled, but it's not completely unheard of
I use double tracking often. Usually I have my main melody and harmony right in the center as one track, sort of as the main focus, while my rhythm section/chords are double tracked to either side so it's thicker behind the melody. Of course you can double track solos but you have to pay close attention to the accenting.
@@SeanORaigh to be a smartass: it's Soli or Solos :P
@@SwampieNew Usually that's my approach too, but I find my single note tracks to often be much weaker. I was wondering if double tracking might be another solution combined with less automation.
For the studio sessions I've been part of, we usually had the drummer (or someone else, really) record a basic scratch track to a click, recorded the other instruments, then come back when everything was in place and record final definitive tracks.
I usually MIDI write my scratch drum tracks (but they are 97% close to what's going to be live recorded, because I write the stuff based on what our drummer played at a rehearsal), then record all the instrumental parts, then do live drums, and only then vocals. I also use rhythm guitar scratch tracks a lot when I'm not recording my own band.
@@alexeypolevoybass that's a good way to do it as well. As a bass player, recording stuff to a straight click feels really weird, hard to groove properly.
@@EversonBernardes never felt weird for me, maybe only in first two weeks. Never feels weird for a pro musician.
Your‘re such a nice Person and ist is always fun and Knowledge to watch your Videos. Brilliant 👌Stay Healthy
The key catch-all here is be prepared ahead of studio time.
I find that if you can "home-record" it to a finished product, more or less, as in; everything is already there, it's a totally finished song.
Then when you go to the studio, it's just a matter of reproducing something in the studio that you already know inside and out... all your doing now is getting a producer to record and mix to a professional studio standard. You can save yourself a lot of time and money this way.
Moral of the story: Make sure you take piano lessons if you're a vocalist / drummer / bassist / guitarist before going into the studio
Had to watch the video twice. The first time all I got out of it was "Where can I get a hoodie like that!?"
Wow - your content is just so good. Thank you.
That was spot on! Thank you so much.
Also for bassists: don't be so proud and learn how to play with a pick. Some songs really ask for it
AGREED! And... if it was good enough for the late great Chris Squire (YES), then its something all bassists should know how to do!
I play as a hobby and yeah, there sure is a lot of expectation for bassists to finger pick.
I have always liked to flat pick the bass.
As a bassist I have to say playing with a pick is limiting. Without it I have finger style, thumb, slap and pop, tapping... With it I have a pick tone. There are a few bassist that are great with them ( bobby vega, phil lesh, mike gordon) but for most of us, tone is in the fingers
@@gratefulila9980 Right. ...and there's a lot of variety in the way it can be finger picked. Yeah, I hear you.
I am a guitar player for the most part. ...and when I started guitar my older brother was insistent about using a pick. I was about 12 when I started and I didn't experiment with finger style till I was well into adulthood!
These are things I think most people have debated forever. Flatpick is still the most natural way for me to play. 👍
@@dougarnold7955 it took me a long time to learn to play guitar with a pick. Finger style was natural for me because I'm a bassist
I swear Jake you're the Jesus of music teaching.
From someone who "lived" in a studio in the '90s, this information is totally on point. Excellent advice.
So glad you showed the sloppy track for double tracking guitars - some people may think it sounds cool solo'd but the sloppiness really creates for some unexplained CHAOS on the final mix SAVE those layers for ..... layers! ahah