From stereo placement to EQ, busing to reverb, veteran music producer and engineer Jon Marc Weiss gives pro advice and insights on how to manage your mix in your home studio. Read the post.
From potato chips to preamps, decoupling to drum heads, these 13 tips can help you get better tones when you’re recording in your (not-acoustically pristine) home studio. Read the post.
Capturing the ultimate vocal performance can require push and pull between the producer and talent. The tact and technique of the producer plays a pivotal role in recording a great vocal take. Read the post.
From communicating, coaxing the best possible performance, and keeping an artist comfortable, a lot of a producer’s skills have little to do with recording techniques. Read the post.
Depending on the genre of music, if you’re doing a live performance, or you’re recording the entire band or ensemble simultaneously, sometimes you can get away without a click – especially if you have a really solid drummer. But 80% of the time in a studio recording – especially if we’re just cutting drums and bass – we’re playing to a click. Read more.
I’ve had drummers who won’t take off their front head, and refuse to cut a hole in the front head. I’ve had to work with that. They had gotten the tuning to sound amazing, or they were purists and didn’t want anything inside the drum. The biggest issue you have when you don’t have the mic in the drum is you’re going to get bleed – bleed from the cymbals, and from the other drums – which can be a real problem for the kick, because it’s driving the entire song, and a lot of times when you’re mixing you want to gate your kick and snare. Read more.
I want to hear a combination of the drum – the hit of the drum – and the snares almost equally as loud as the drum. In a standard 4/4 set up, you’re hearing the snare on the 2 and 4. That snare has a space to fill – it’s the answer to the space the kick drum is filling on the 1 and 3. The snare and the kick have to work together to pull the song forward. If you have a great kick sound, and the snare isn’t matching it, you’ll have this imbalance. Read more.
There are just so many factors to consider with a piano. Pianos are incredibly dynamic instruments, more so than any other instrument I can think of. They’re very percussive and they resonate a whole lot. A lot of microphones tend to get overdriven when recording a live piano, and when you’re using microphones that don’t have a pad, you might find you’re overdriving the microphone, not the preamp – though there’s a potential for that too. Read more.
When you’re recording an electric bass guitar, blending a direct injection (DI) line recording with a mic’d cabinet is the safest way to make sure you’re going to get the tone you’re looking for. If you have the preamps, mics, and tracks to do it, you might want to record as many as four bass tracks – a DI and three mics – and somewhere in the blend of those four individual tracks, you’ll find the tone you need for each song. Read more.
When considering how to record brass and reed instruments – and when recording saxophone in particular – the player and the tone he’s able to get from the instrument are vitally important. If you’re recording a professional with a lot of studio experience who knows how to get certain tones out of the instrument, you’re going to have a very different approach than if you’re in a home studio recording someone who’s new to the instrument and playing stacked notes.
“Take Grover Washington, Jr., for example,” says Jon. “I had the good fortune to record sax with Grover on a session in the mid 90s. He was as good as it gets. His tone was amazing. You could pretty much put a mic anywhere and it was going to sound good because he could resonate his sax really well.” Read more.