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How can I reduce repeativeness in the studio?

Discussion in 'Recording' started by igotnosmoke, Jun 13, 2004.

  1. igotnosmoke

    igotnosmoke Active Member

    May 19, 2004
    Melbourne, Australia
    Hey guys...
    Im just wondering how you professional sound audio engineers go about managing time and organising yourselves whilst working that can impress artists?... i have never recorded with any of my own bands using a pro engineer, and am basically trying to teach myself by conducting extensive research in these forums, they have been very insightful thus far.

    What are some of things you guys do to avoid repeativeness that occurs whilst recording artists in different and similar genres (even recording a whole album for an artist)?

    An idea that has came to mind, is setting up some form of template in my Recording Program (such as assigning certain tracks and panning em etc) for every genre of music i record in the future? is this a good idea? If so what other things could be done to save time and get consistant results? or should i treat every project invidually..?

    Thanks Guys :),
  2. sosayu2

    sosayu2 Guest

    not sure i know how to answer this one..... as far as time management goes i'm horrible. the thing that impresses the clients as you put it are the sounds i get. as far as speed, that comes with time and experience......i treat each project differently because they are all different. knowing your $*^t and how to react when things go wrong and working around problems in a given studio, that really goes a long way with clients. when they feel you're wasting time and money.... you're dead. i hope any of this helps.....
  3. UncleBob58

    UncleBob58 Active Member

    Apr 9, 2003
    Fairfield County, CT
    Home Page:
    A basic "template" for each genre of music when you are tracking the basic tracks can be a real time saver, whether you set it up in your system or just your head. When doing rock of any genre you are going to be tracking drums, bass and at least one guitar along with a pilot vocal, so a basic template is a good idea.

    Working quickly and efficiently is a by-product of knowing your equipment inside-out and experience.

    Otherwise, approach each new session with a completely open mind. In the digital age you can do multiple takes and never have to erase them like we did back in the old analog tape days. (I do miss some of the wild and wacky things we did before digital audio and MIDI, however! Anyone remember turning the tape over for backwards recording? Changing tape speeds?) You can then go back to all of those experimental takes and let the client decide what they like.

    Also be prepared to help stimulate them when they get to a creative road block. I don't have "templates" for these things, but I have, many times, Chipmunked the vocal track, reversed parts, put wierd effects on things, etc. They don't work a large part of the time, but sometimes they end up in the final mix. These things can sometimes lead you in a new direction or, if nothing else, they're always good for a laugh.

    Most of all the artists have to know that you care about their work and are willing to take a creative (mostly uncredited) initiative with their material. The clients who appreciate you will come back again and again, because no one else can do for them what you do.

    Good Luck!

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