Recording in a Studio

lambchop

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I love Garageband and I think it has a lot of power, and I have no trouble stepping up to Logic, but home recording does lack the quality, properly treated sound rooms, expertise (at least in my case) and equipment a pro studio has. There is a wonderful studio with a 30-year veteran engineer in my area and his rates are surprisingly reasonable - $65 an hour, but less if you buy time in larger blocks of five or so hours. Mix-down/mastering rates are the same, and he does not mind letting you have the digital source to work on at home in Logic or Pro Tools. The studio has tons of great mics, full digital and analog boards (even runs two-inch tape) and I'm thinking if I am getting ready to do a little project with simple songs that I am well practiced on, maybe 10 hours of recording the basic uke and vocal tracks might be worth the money. Or maybe a couple of hours recording one or two songs just to see the difference in quality might be worth it. Maybe one song on tape, one digital, as I really think a tape master would really add a great vibe.

Any thoughts / experience regarding pro versus home recording? I can already anticipate the caveat that 10 hours is not anywhere near enough, but it'd be a pretty simple set up.

Thanks in advance for your help.

Mike
 
You don't state how much home recording experience you have so here goes...

Don't underestimate the amount of session time required for a single tune. Nor the importance of rehearsing a tune over and over and over until you have the performance down before the big day. The first time can be intimidating for the uninitiated so having your performance down pat will go a long way to increase you comfort level. If you haven't already I would suggest spending some money on a decent mic, nothing extravagant, just competent and a small Mackie mixer for its preamps. Logic might be a good option because it may provide an introduction to a more standard paradigm with regard to workflow, gain structure, and routing. Next, register at Gearslutz.com, and get a copy of this:

http://www.amazon.com/gp/offer-listing/0922915601/ref=dp_olp_0?ie=UTF8&condition=all

Then, get a free subscription:

http://www.tapeop.com/subscriptions/

I suggest this so that when the time comes, and I do suggest it come sometime in the future, your experience in the studio will be more than just about recording. Your first time on the studio should be something to remember. Doing some recording at home, really try and perfect your technique and take it as far as you can. If you do that then your first time in the studio will be so much more gratifying. With a little bit of time spent recording at home and reading books and the GS forums you'll be able to better communicate with the engineer, having learned some of the "language", and be able to ask questions based on some basic knowledge of the process, you'll also have a better understanding of what is going on around you so it won't seem so foreign.

Another thing to consider is, tracking at home allows you to bring those files (properly recorded and formatted) into the studio so the engineer has an idea of where you're coming from.

Learning about proper recording techniques, setting up your first session, listening to the first fruits of your labor, it's something to take time with and enjoy... I'm excited for you. Gearslutz can be a particular treat when you discover one of your posts has elicited a response from a world class musician, engineer, or software developer.
 
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If you've got $650 to spend on studio time, I'd get a good condenser mic (an AKG C214, for instance), if you don't have Logic, get Logic (I wasn't sure whether you did from what you've said). Learn as much as you can. Experiment. Take your time. You will save tons of money, and possibly have more fun, in a less stressful environment.

How complicated are the arrangements you're thinking about?
 
Not very complicated at least for basic tracks. That's why I thought paying for expertise is better than paying for equipment I may not be any good at using.
 
Sounds like fun, Mike. Try to pick the brain of that engineer as much as possible, that may end up being the most valuable part of the experience.
 
That book looks amazing. Can't wait to get s copy. Again, thanks!

Glad I could contribute. There's a second volume I haven't got yet but I probably have most of what's in it; I subscribed right after reading the book around '97. It's the only mag I actually keep.

just subscribed to tapeop - looks like a great magazine... thanks for the heads up!

Don't forget to read the letters section, you'll be surprised at who reads and responds to it. Much like GS, it is read by many people who are actively involved in creating many of the recordings you have heard throughout the years. The Mercury Living Presence article was one of my favorites. Here's a couple of related articles if you're interested:

http://www.kcstudio.com/wilmacozartfine2.html
http://www.soundfountain.com/amb/mercury.html
 
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I think if you're recording something simple, you're probably better off trying to do it yourself. BUT, only if you think it will be fun. If you are excited about being in a studio, and feel that you want to experience that, then by all means do so.

But a ukulele, as an example, isn't very complicated to record. It simply doesn't resonate all that much, and it's frequency response is very limited. What that means is that your options are limited. I spend more time when recording trying to deal with string/nail noise than getting a good frequency response.

Singing has some tricks to it (assuming you're going to sing), but a lot of that has to do with the technique of the singer.

I guess I enjoy the process of the technical bits and bobs. If that's you, buy the kit. If it's not, pay the expert.
 
I never did any studio recording but I did a lot of home recording and frankly, I don't think I'll be effective in a studio since I like to take my time and since I do a lot tracks layering I just prefer to record all by myself and take the time I reaaly need and not to be stress by someone who is waiting after you.

Today it is possible to get a nice homestudio and not spending too much money....so it just took that path.

But I'm sure you can learn a lot by going to a pro studio and then get back to your home studio and apply what you learned there...
 
http://www.youtube.com/watch?v=xqpcZvgipqg

Your Michigan native and recording artist, Gerald Ross, describes his recording of CDs at home, and uses pro engineer after it's recorded. See above video, lamb. It's important.

http://geraldross.com/

Then, to see his basement studio, see this video--yes! (starts at 7:15 seconds about recording, but the whole video is so keen!)

http://www.youtube.com/watch?v=XLIWRfY66A0

Hope that helps (maybe you live close to him?)

I've communicated with Gerald - he's a great guy. Also, he's a great player and a lot of his tone comes from him and would be good with whatever he used. His latest work, from what I understand, was done live to a Zoom H4 up in northern Michigan. There's a video or I think I saw it on his website.
 
I never did any studio recording but I did a lot of home recording and frankly, I don't think I'll be effective in a studio since I like to take my time and since I do a lot tracks layering I just prefer to record all by myself and take the time I reaaly need and not to be stress by someone who is waiting after you.

Today it is possible to get a nice homestudio and not spending too much money....so it just took that path.

But I'm sure you can learn a lot by going to a pro studio and then get back to your home studio and apply what you learned there...

Yeah, it's a toss up. But my Alesis multimix is great but I have to drive it too high and it gets noisy; need a better board? Then get a mic for $400 (I have one I like, already, so that may be okay) but to get Logic or ProTools by that tiem I have spent a good $600 or more and if I still can't pull it togehter I'll still need the studio. But I've not decided yet but all this advice helps a lot. Thanks, Mike
 
What about a mic that plugs into the ipad? There's the Apogee Mic and Blue Spark digital. The Spark has a headphone out for zero-latency, but a 16-bit dac. The Apogee has quite a high latency, according to its website, but a better 24-bit dac. BUT if you use open monitors, then latency isn't on the table anymore because you're not listening to yourself record.

Both require accessories if you want to use a mic stand for proper positioning. The Blue's accessories are slightly more expensive, unless you already have a shock mount that works. One of the handiest things to get is an ipad holder that works with the mic stand.

But for all that, recording in a studio is an awesome experience and I'd never tell anyone not to go for it!
 
Great thread, I'm curious about folks view of whether the Zoom H4n is sufficient for CD quality recording or whether you need a better condenser mic?
 
Recording in a studio is a valuable learning experience, especially in your case, because it is evident that you are aware of the limitations of your home studio. When recording just a vocal and uke its important to find the right combinations of mic/pre that is the sound YOU are looking for. Run through as many combinations as possible to get a feel for the variables each piece brings to the table. An experienced engineer will most probably have a combination in mind when he/she hears the resonances of your voice and instrument. Every mic and pre will have its own particular "signature". After identifying the the best match you will know if that set of gear is affordable enough to translate to your home studio. Hopefully there is a combination you can buy or rent that will allow you to explore the recording process without incurring the expense of pro studio time. Its also important to have either speakers or cans that can accurately covey the subtleties of different recording techniques.

While tape may seem sexy my view is that plugins can get very close to the effect that tape offers. The affection for tape is mostly nostalgia.
 
Just for a note of humor on this thread, when I went to Amazon to buy a copy of Tape Op there was this little offer "When you buy this book now for $37.64 and sell it back later for a $1.30 Amazon.com Gift Card, it could cost you as little as $36.34. Restrictions Apply Learn more "
so if anyone was thinking of doing this, please contact me and I'll beat Amazons offer by a factor of 10.
 
Recording in a studio is a valuable learning experience, especially in your case, because it is evident that you are aware of the limitations of your home studio. When recording just a vocal and uke its important to find the right combinations of mic/pre that is the sound YOU are looking for. Run through as many combinations as possible to get a feel for the variables each piece brings to the table. An experienced engineer will most probably have a combination in mind when he/she hears the resonances of your voice and instrument. Every mic and pre will have its own particular "signature". After identifying the the best match you will know if that set of gear is affordable enough to translate to your home studio. Hopefully there is a combination you can buy or rent that will allow you to explore the recording process without incurring the expense of pro studio time. Its also important to have either speakers or cans that can accurately covey the subtleties of different recording techniques.

While tape may seem sexy my view is that plugins can get very close to the effect that tape offers. The affection for tape is mostly nostalgia.

For cans, got a set of Grado sr60i on the way. Supposed to be very neutral, very high quality for the price. The tape debate is a storied one but I have studied it a good deal and believe the difference tape and vinyl distort harmonics in a more pleasing way than does digital, but digital can capture that vibe from the analog source.
 
For cans, got a set of Grado sr60i on the way. Supposed to be very neutral, very high quality for the price. The tape debate is a storied one but I have studied it a good deal and believe the difference tape and vinyl distort harmonics in a more pleasing way than does digital, but digital can capture that vibe from the analog source.

If you find the sr60s too bright, you can always sell/return them and get their relative, the ms1i. Grado makes it for Allesandro Audio, and it's a tweaked sr225 with smoother treble, and 100 bucks shipped, one of the great secrets of audio right there. Then there are all the pad mods you can do on Grados...

I happen to like my Audio Technica ep700s more, but with certain Grados you can't go wrong... Anything up to the sr225. Past that, and they get too bright. Of course they'll sound better with a headphone amp too.

But really you don't need mic/pre setups anymore, unless you're still tied to a computer. The internal dacs on ios mics are so much better than previous gen USB mics.

Edit to add - Ok, yes if you want an über-mic, then you're saddled to what should also be an über pre. But since we're talking about simple setups and that absolutely don't suck, and mentioning gear like the Zoom, I thought the new ios big boys on the block should be in the mix too.

I think if I wanted what such a mic setup would get me, I'd rather go into a studio if it was even an option. The guy at the controls is going to know more than I do as to how to get the best out of that setup.
 
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