|
|
#16
10-17-2016, 09:51 AM
|
|||
|
|||
One of the reasons I put together a project studio is that I didn't want to pay the high cost of studio time. I wanted a relaxed area with no pressure to write and record songs, though even with owning the equipment, it took quite a while to get used to that little bit of pressure when recording. I eventually got to the point where the recorder helped to write and arrange music. Now I don't even think about it when I record. So, I think it's just like anything else, the more practice you put into it, the better you get at it. If you want to get good at it before you go into a high priced studio, and you don't want to buy expensive equipment, just record yourself with your phone or a cheap recorder. You've just got to do enough where it becomes second nature.
|
|
#17
10-17-2016, 10:14 AM
|
|||
|
|||
|
The OP didn't mention what the recording was for. Is it a demo? Is it for You Tube? Is it for selling or just plain fun?
If I am doing a recording of a song I wrote, I do my best and don't really worry about a mistake here or there. My main goal is to get the "feel" and emotion of the song vocally and instrumentally to a place where it reflects what I was trying to say. If it's a demo of our duet, pretty much the same approach with a little more attention to the details.
__________________
Nothing bothers me unless I let it. Martin D18 Gibson J45 Gibson J15 Fender Copperburst Telecaster Squier CV 50 Stratocaster Squier CV 50 Telecaster
|
|
#18
10-21-2016, 08:34 PM
|
||||
|
||||
|
I'll record myself once or twice a week. The more you record yourself the less "red light fear" occurs.
__________________
Barry Youtube! Please subscribe! My SoundCloud page Avalon L-320C, Guild D-120, Martin D-16GT, McIlroy A20, Pellerin SJ CW Cordobas - C5, Fusion 12 Orchestra, C12, Stage Traditional Alvarez AP66SB, Seagull Folk Aria {Johann Logy}:
|
|
#20
11-06-2016, 04:10 PM
|
|||
|
|||
|
For me, meter watching kills productivity dead. Trying to split my thinking into recording engineer and talent simultaneously seems to dilute both the creative process and my technical attention to detail. The result is that I'll never honestly know how actually good, or bad I am at either. Practice is of course the first course of action. But I often wonder how much more, or perhaps less relaxed I would be even with someone I trust getting levels, hitting the button and watching the meters? Ironically, this is what i did for my real musician friends at the dawn of the porta-studio/ reel to reel home recording era. Now that I have collected all this cool recording stuff, it's sitting in storage unused and I have incurable red light fever with no musician friends around. My timing stinks....
__________________
1958 Gibson ES225T Gibson LP Classic Martin D41 Martin Custom OM42 Takamine C332 Prestige New York Special Fender Jazz bass USA
|
|
#21
11-07-2016, 12:35 PM
|
|||
|
|||
|
Quote:
I record myself quite a bit, I can set up microphones/preamps/compressors in less than a few minutes to where I will like the tone, and I DON'T have to watch meters. As a matter of fact, when I get done recording others, I always set up a guitar mic(s), and a vocal mic to capture my demos (see pic below). It's just become habit, so literally when I walk into my studio, I just fire up the preamp rack, turn on the computer, open up the DAW, bring up a saved demo template, and hit record. From beginning to end of that process is less than 5 minutes. So there's really no pressure that I feel, other than writing a good song, and playing it the way I hear it in my head, the recorder is just an extension of that, and it tells the truth, it makes me a better musician. I literally work out the songs on my recorder, and then learn how to play them! So by the time I hit record for realzies, there is NO pressure. And my recording studio is set up to be very comfortable to record in. 
|
|
#22
11-07-2016, 01:53 PM
|
|||
|
|||
|
Quote:
With today's gear your first issue is to learn to leave some room at the top of the gain range instead of always walking the fine line between noise and distortion. Get your levels in the ballpark with some headroom, then ignore the meters. The availability of high quality condensers at reasonable prices gives a lot of flexibility in mic placement. Reading a lot of recording threads here and elsewhere gives the impression that recording requires fanatical attention to the details of mic position, but I honestly believe that's exaggerated. Sure, every change in mic position changes the sound, but there are plenty of good sounds, not just one. To me all this means that excellent quality comes down to the performance, which comes down to practice. If the goal is a decent recording, the path is to practice recording. Fran
__________________
E ho`okani pila kakou ma Kaleponi Slack Key in California - www.kaleponi.com My YouTube clips The Homebrewed Music Blog
|
|
#23
11-07-2016, 08:52 PM
|
||||
|
||||
|
Quote:
I'm a technical person. After studying music recording and composition I was hired by a company way back to be a recording engineer. That job is a technical job. What do technicians do? They develop TECHNIQUES that make jobs go smoother and quicker and help create a better product. When I came back around to integrating production and performing, I decided to create techniques to make the technical side of things operate as automatically as possible and not drain creative energy. I learned my gear so that I could set up easy overdubs. I learned to set up my work area to make it easy. I get a basic setup and don't have to watch the dials like a hawk. I've gotten good instruments and gear and learned to get the sounds I need. I'll be honest, though: When I'm done with a day of wearing three hats I'm usually exhausted. Fulfilled, positive, but exhausted. Bob
__________________
"It is said, 'Go not to the elves for counsel for they will say both no and yes.' " Frodo Baggins to Gildor Inglorion, The Fellowship of the Ring THE MUSICIAN'S ROOM (my website)
|
