Ask Neal: Things To Check Before You Arrive At The Studio
By
Neal Schmitt 5/1/2002
I've got a ton of ideas to discuss in this column but I also hoping to answer questions that you, dear reader, may have. Don't be afraid. Look into the light. All are welcome.
A vital, cost effective and often neglected step in attempting to put your music on tape is the idea of pre-production.
One of the biggest problems I run into in the studio is bands laying down music and being unfamiliar with individual parts. Guitar players hearing the bass part for the first time or the bass player finally getting what the drummer is doing. etc. This happens all the time. A crappy PA and practicing too loud certainly provide less than ideal circumstances. It's hard to hear AND pay attention to what other band members are playing.
Pre-Production is the idea of stripping a song down and methodically building it back up to make sure it's as strong as possible. This is also a good time to manipulate, mangle and edit the song. This process should be happening all the time. A stellar performance or pristine recording of a bad song does no one any service.
Here are a few ideas bands can take to make sure they're working with the strongest material possible:
1) Break the song down to vocal and the main instrument, which usually is guitar or piano. A great song should exist. Is it musically boring? Where are the accents when you wrote the song? Where are the accents when you play it with the band? Why are they different? Is it lyrically interesting? Does it try too hard or not hard enough? Does the melody follow the guitar line? (That's bad if its all the time but can be interesting sporadically). Are there large sections where nothing is happening? Is the song too long? Is there a hook? Don't be afraid to re-write or edit the song. I doubt every lyric was guided by divine inspiration.
2) As the song is played in this format, band mates should be open minded in their listening. Often times people just project their part on what they hear and think their part works. This is where communication comes into play. Band mates need to be able to discuss the song, structure and individual song parts without putting others on the defensive. Telling a guitar player their part isn't any good is tricky business but necessary. I can't tell you how many times I've heard a musician say to the band, "But that's what I've always played." That doesn't mean it's the best part. Speak up. Unless you're the drummer . . . . then be quiet . . the adults are talking.
3) At practice, record the song. This can be still just guitar or vocal or can be the whole band. Format is not important but there needs to be some sort of clarity to be able to hear individual parts. (Hurray for 4 tracks). Do you enjoy hearing the song played back? Are there holes? Is there a hook now? Are the kick drum and bass guitar locked? Are the dynamics to the song apparent? What can you try differently? Is it better with effects or without? Is the snare sound annoying? With your gear, can you get the right guitar sound? Can the bass part be better? Is it too busy or too static? What other instruments would make the song better?
4) Simply figuring tempos out before the studio can prevent disagreements, pointless takes and wasted money. Is the song played at the practice tempo or the live gig tempo and which one is correct? Using a drum machine or metronome to set tempos can provide consistency from practice to stage to studio. It can also be enlightening. Many bands tend to write in similar tempo range. Don't.
5) Record one of your shows. Are the dynamics and tempos the same as they were in practice? I doubt it. Which one is correct?
6) What are the weaknesses of the song? You know it's a good song but figuring out what's not good is as important. Compare your songs to others in a similar genre. What's different? What's better? What's worse? Blame the industry for promoting crap and ignoring your genius. Give up music and sell your gear to me cheap.
7) Buy back gear. Demo the song again with any changes. Wash, Rinse, Repeat 1-6. These suggestions won't necessarily work for all genres or all songs so find what works best for you. The idea of all this is to gain a clearer understanding of the song. Maybe even have in your head what the completed and recorded song should sound like. Next column will discuss what to expect from the studio, studio engineer and promoting smooth sessions.
Neal's condition is day to day. Try my new diet of Flavor Ice, Bryers Mint Chocolate Chip Ice Cream and Iced Cappuccino's.
Neal
Schmitt
Pretty Mighty Mighty
www.prettymightymighty.com
Workbook Studio
www.workbookstudio.com
www.mp3.com/workbookstudio
