Whether it’s your first time recording, or you’re a Pro Tools veteran, good preparation before going into the studio can save you hours, if not days, of wasted recording time.

Working with an experienced producer can take some of the guesswork out of the recording process, however this is not always possible during preproduction.

Budget, availability, or lack of knowledge often means that artists are not ready when they step into the recording studio. Correct preparation creates a great recording experience.

Here are some basic steps that I recommend to all my clients before they come to my studio to record.

1. Preproduction

Preproduction is the single most important activity a band can undertake to improve their final recording result. Essentially, it’s a practice recording in preparation for the real thing. It helps each musician hear how their parts sound and interact with the other instruments in the band. The band can then make decisions on arrangements and musical content from an active listening perspective rather than during performance or rehearsal.

If someone in the band has access to a home recording setup, that’s great. You don’t need a huge recording rig for preproduction recordings. There should be someone in your network that is tech savvy enough to run GarageBand at least, but if not, hit up your local audio engineering college and ask if there are any students interested in recording your music. Generally these students are keen and competent enough to get a demo down. Obviously, these are free options for an artist looking to save some dollars.

However, if you are looking to get the most out of your preproduction sessions, you should book time with your producer and work with them during the formative, creative stage of your composition.

2. Performance, Timing and Dynamics

If you write your music in the rehearsal room, start with a live recording. You’ll be able to capture the true dynamic and flow of your song, which can then be used by your producer to map out timing changes and volume dynamics.

When I work with a band, I listen to their live takes to hear the natural ebb and flow of the song’s timings. I then beat-map these different tempos into Pro Tools. I may find that the post-chorus sounds better played slightly slower than the chorus, so I’ll map these different tempos onto my timeline and have my click track reflect these changes.

If you write your music on the computer, which a lot of artists prefer these days, try experimenting with fine tempo adjustments throughout your song. Unless you’re writing dance music, keeping a song at a single tempo can be quite bland. I usually find increasing the tempo of a chorus anywhere between 1–3 BPM can give it extra energy without there being a perceptible increase in tempo. Try this throughout the different sections of your composition to breathe life into a computerised writing environment.

If you are able to map your tempo changes to a click track and record your preproduction to it, those tempo maps can be of great help when it comes to the main tracking day. If the preproduction session is polished enough, I will sometimes use parts of it as a guide during the main recording session.

I also recommend that each member practice their parts with the preproduction sessions in the time leading up to the main recording.

3. Demo-itis

Demo-itis is an affliction that affects almost all musicians and many producers. “But it doesn’t sound as good as the demo,” they say. Sometimes this is true. Quite often it isn’t.

Often, songwriters become very attached to particular arrangements and begin to lose perspective on what actually sounds good. This is one of the perils of self-production and home recording.

An experienced ear can enhance a song or production in ways that the original artist may not have considered.

Demos and preproduction are a time to explore all possibilities and prepare for race day, and not everything will be good. That being said, sometimes during preproduction you’ll capture a magic performance that proves difficult to recreate in the main studio. I’m a firm believer in performance coming first over perfection.

So when it comes to guitars or bass, I always record with DIs or direct input during preproduction. This might be in the form of a Hi-Z input on your audio interface, or an external preamp or DI box. With a DI, you can usually send a copy of your guitar or bass signal to your amp as well as to your computer. By capturing the DI for your demos, you have the option to use demo material if it has some elusive quality about it.

A simple yet high-quality DI that I recommend is the Radial Passive Direct Box. It runs a split signal and sounds great.

4. Creative Time

Make sure you use this preparation time as an opportunity to explore all creative avenues. Sure, creativity can strike during the main recording session, but experimenting with an idea and getting it down convincingly can take time.

It’s important not to think:
“Oh, I’ll just write all the backing vocals and harmonies when I’m in there.”
Or:
“We haven’t written the ending yet, but it’s cool, we’ll wing something.”

Facepalm.

5. Know Thy Band Members’ Parts

If there is one thing I can impart when it comes to being versatile and fully prepared for a studio session, it’s not only knowing your own parts intimately, but also having an understanding of your fellow band members’ parts. There is a close relationship between the drums and the bass and an implied understanding between players.

However, the guitarist should also know where every kick and snare is landing, what notes the bass is playing underneath the chords, and vice versa. This understanding can yield a more musical final result and can smooth out discrepancies in performance, timing and harmony between players.

Practice makes perfect. Once everyone has consolidated their parts, it’s simply a matter of regular practice and rehearsal to ensure a confident performance on recording day.

6. Instruments and Equipment

Making sure you have the appropriate instrument to record with is essential to getting a great sound. Classic sounds require classic instruments. Modern tones need modern equipment. To generate the sound you want, you need to choose the appropriate gear.

Do you have the right snare drum for this song? How about those cymbals? Is that guitar suitable for the tone you want? A Fender Telecaster will sound great on a blues or rock record, but it wouldn’t be my go-to choice for a metal band.

If you don’t own the gear you need and can borrow equipment from a friend, great. Just make sure the equipment will be available for the duration of your recording.

“Hey buddy, I need my bass back this weekend for a gig.”
“But we’re booked in the studio that night.”

Uh oh.

If you are unable to source your own equipment, speak to your producer. I have people in my network that I hire equipment from privately. I’ve also been keeping an eye on The Drum Cartel for their range and freight options. If you’re in Melbourne, Deluxe Audio hire quality guitars, basses and drums at reasonable prices.

7. Intonation

Once you have selected and acquired the appropriate equipment, it’s essential that string instruments are serviced and adjusted for intonation. A poorly set-up instrument can waste hours of time tuning and can produce a less musical result.

Get your instrument set up by an experienced guitar luthier or technician and make sure it’s adjusted for the tuning you are using for that song. If you are in Melbourne, I highly recommend Cargill Custom Guitars.

I can’t be more enthusiastic about how great new bass strings sound compared to ones that have been played in, even for just a couple of sessions. I prefer taking on the tuning challenges of new strings over the sound of dead strings and no tone. New strings.

The same goes for drum heads. Make sure you have new heads and that they’re appropriate for the sound you want. Clear heads will be brighter and more sustained, coated heads will be duller with shorter sustain. Different brands sound different. I’m a huge fan of Evans Level 360 drum heads.

8. Expectations

I always spend time getting to know the band or artist. I like to hear a performance of the material and understand where they’re coming from creatively and what they want to achieve with the project. I then lay out a realistic vision for the record and make sure everyone is on the same page.

Some people have unrealistic expectations of how a record will turn out, often due to budget, time constraints and lack of preparation. Being prepared helps manage time, reduce cost and ensure that everyone understands what’s required to get a good result.

9. Having Fun

Most importantly, making music should be fun. In my work, fun can encompass a variety of emotions. I find enjoyment in the feelings that music evokes in me, whether it’s sadness in a vocal passage or the hilarity of a cheesy guitar lick.

It’s this essence that I try to find in an artist and their music, to explore and bring out in performance. If you can find an emotional place to draw a performance from, use it. It can bring real magic to a recording.

Producing a record is a personal experience. There are high stakes, pressure, and the need to perform under stress. Good preparation removes unnecessary friction and makes the process far more rewarding and enjoyable.